Photoplay 1952-01 Vol. 41, No. 1

| Pick Of The

‘.

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Follow this Camay bride’s way! You'll have a fresher,

brighter skin with your First Cake of Camay!

7 1RLs who'd court compliments and
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So why let your beauty be masked in
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your skin “out of the shadows” and

yvamMmay

the soap of beautiful women ;

into the light of new loveliness.

Show the world a lovelier com-
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appears with your very first cake!

There’s no finer beauty soap than
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light of new loveliness with Camay,
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hadows’

This lovely bride—Mrs. Gary Fleming,
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after I changed to regular care and

Camay IJ had a clearer skin.”

Bring all your skin new beauty!

The daily Camay Beauty Bath brings
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with Camay’s fragrance. For more
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Prompt Action

can often help head them off
or lessen their severity

HATEVER ELSE YOU DO, gargle Listerine
Antiseptic at the first hint of a sneeze,
sniffle, cough or scratchy throat due to a cold.

Kills Germs on Throat Surfaces

Listerine Antiseptic reaches way back on throat
surfaces to kill millions of germs, including
those called “secondary invaders.” (See panel
below.) These are the very bacteria that often
are responsible for so much of a cold’s misery
when they stage a mass invasion of the body
through throat tissues.

Listerine Antiseptic is so efficient because,
used early and often, it frequently helps halt
such a mass invasion ... helps nip the cold in

. the bud, so to speak.

Fewer Colds and Sore Throats in Tests

Remember, tests made over a 12-year period
in great industrial plants disclosed this record:
That twice-a-day Listerine Antiseptic users had
fewer colds, generally milder colds, and fewer
sore throats than non-users.

Lampert PHarMACAL Co., St. Louis 6, Mo.

SOME OF THE “SECONDARY INVADERS”

(1) Pneumococcus Type li!, (2) Bacillus influenzae, (3) Streptococcus hemolyticus,
(4) Pneumococcus Type lV, (5) Streptococcus viridans.

Tests showed that even fifteen minutes after Listerine
Antiseptic gargle bacteria on mouth and throat
surfaces were reduced up to 96.7%; an hour after-
ward as much as 80%. Among bacteria on mouth
and throat surfaces can be many of the ‘secondary
invaders,’ some of which are shown above. These
are the very germs that can cause so much of a
cold’s misery when they invade the body through
throat tissue.

See The SAMMY KAYE SHOW ° “So you want to lead a Band’’
CBS TELEVISION NETWORK

All I Do is
Sit And View!

YOU HAVE DATES
ANY TIME YOU
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ALL I GET 1S WHAT

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"
ay

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LOTS OF DATES, TOO, PEG_IF
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ON EEN IOS
COLGATE DENTAL CREAM CLEANS
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=] STOPS TOOTH DECAY BEST!

READER’S DIGEST* Reported The Same
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Right After Eating with

COLGATE DENTAL CREAM
STOPS TOOTH DECAY BEST

Reader’s Digest recently reported the
same research which proves the Colgate
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stops tooth decay best! The most thor-
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Colgate Dental Cream

WITH COLGATE CARE, ROMANCE COMES THROUGH,
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AA NAAN AA An ho ee

, Use Colgate Dental Cream
: ¥ To Clean Your Breath

*YOU SHOULD KNOW! While not mentioned by name,
Colgate’s was the only toothpaste used in the research
on tooth decay recently reported in Reader’s Digest.

JANUARY, 1952

PHOTOPLAY PUBLISHED MONTHLY by Macfadden Pub-
lications, Inc., New York, N. Y., average net paid circu-
lation 1,200,163 for 6 months ending June 30, 1950.
EXECUTIVE. BOVER Te AND EDITORIAL OFFICES
f 5 East 42nd 5S

Rec ofice: 821 South Beverly Drive, Beverly Hills,

countries. ;
CHANGE OF ADDRESS: 6 weeks’ notice essential. When

possible, please furnish stencil-impression address from

& recent issue. Address change can be made only if

we have your old, as well as your new address. Write .
to Photoplay, Macfadden Publications, Inc., 205 East

42nd Street, New York 17. N. Y.

FAVORITE OF AMERICA'S “FIRST MILLION” MOVIE GOERS FOR 40 YEARS

PHOTOPLAY ~

CONTENTS
HIGHLIGHTS

i Was There (Judy Garland)............. Beverly Linet
Is Mario Lanza Hollywood’s Biggest Headache?...... Hedda Hopper
Mama’s Girl! (Debra Paget).......... 2 Jessyca Russell
Pin Ups of 1952... Phyllis McGinley
Hold Your Man (Esther Williams)................... Ruth Waterbury
Backstage Baby (Jane Powell)..............--...-0--- Helen Bolstad
Mr. Dynamite (William Holden) .................... Pauline Swanson
The Girl Behind the Headlines (Elizabeth Taylor).......Elsa Maxwell
Darkroom Strutters Ball............
Handle with Care... Sheilah Graham
Skytop House (Jane Russell)..........................., Lyle Wheeler
In the Cool, Cool, Cool Jane Wyman Way................-. Ida Zeitlin
Photoplay Fashions..................-. oe Se
Announcing the 1952 Photoplay Scholarship Contest. ..Katherine Pedell
If You Want to Be Charming............. oe ...Joan Crawford
FEATURES IN COLOR
Mario Lanza.......... Pe egooe 30 Jane Powell and
Debra Paget... 22 32 Geary Steffen IH].............
Virzinia Mayo:............... 34 Jane Russell..................
Ava Gardner... 0.0.0.0. 52 34 Jane Wyman.........-.......-
Mona Freeman................ 35 Susan Hayward.....-..-.......
Monica Lewis, 06.60.5022: 35. fony. Dexter... i oe
Alexis Smith...-.............; 57
SPECIAL EVENTS

Brief Reviews................ 86 More Holiday Trimmings......
Casts of Current Pictures...... 87 =Readers Inc.................%.
Cowboy’s Castle.............. . 18 Shadow Stage—Sara Hamilton. .
Hollywood Party Line— That’s Hollywood for You—

Boith Gwynn. ........2s56. 13 Sidney Skolsky........... ne
Impertinent Interview— What Hollywood’s Whispering

Aline Mosby.........°.-.-.: 16 About—P. S. Lowe..........
Inside Stuff—Cal York........ 10 What Should I Do?
Laughing Stock— Claudette Colbert...........

Erskine Johnson............ 69 Your Photoplay Photoplays...

Cover: Esther Williams, star of “Texas Carnival”
Natural Color Portrait by Engstead
Marvella pin by Michael Paul

Adele Whitely Fletcher, Editor
Edmund Davenport, 471 Editor
Ruby Boyd, Managing Editor

Rena Firth, Assistant Editor
Jacqueline Dempsey, Fashion Editor

Fred R. Sammis, Editor-in-Chief

Lyle Rooks, Hollywood Editor
Frances Morrin, Hollywood Managing Editor
Ruth Waterbury, Contributing Editor

Cal York News Edited by Jerry Asher

be responsible for loss or injury,

eet, New York 17, N. Y¥. Editorial

Lockhart, Vice President.
Re-entered as Second Class Matter, May 10,
the Post Office at New York, N. ¥., u

$2.00 one year,

registéred in U. S. Patent Office. Printed in
by Art Color Printing Company.

Member of The True Story Women's Group

JANUARY, 1952

29
30
32
34
36
38

22

12

Beverly Linet, Editorial Assistant
Esther Foley, Home Service Director

Hymie Fink, Staff Photographer
Betty Jo Rice, 4ss’t Photographer
Maxine Arnold, Contributing Editor

VOL. 41, NO. 1

MANUSCRIPTS, DRAWINGS AND PHOTOGRAPH
be accompanied by addressed envelope and return po:
and will be carefully considered, but publisher cannot

FOREIGN editions handied through Macfadden Publica-
tions Ynternational Corp., 205 East 42nd Street, New
| Harold A. Wise, President: David N. Laux and York 17, N. Y. Irving S. Manheimer, President; Douglas
ed R. Sammis, Vice Presidents: Meyer Dworkin,
Secretary and Treasurer. . Advertising offices also in
Boston, Chicago, San pee and Los Angeles.

1946 at
Us d Mareh 3, 1879. Authorized Ss a Glass snail, Be OF

Fe : . an c} 79. Authoriz. as Secon ass mail, P. QO.
Beer ee and We aada. $4,00 per year all other Dept., Ottawa, Ont., Canada. Copyright eee ee

International Copyright Convention. All rights reserved
under Pan-American Copyright Convention. Todos de-
rechos reservados segun La Convencion Panamericana —
de Propiedad Literaria y Artistica. Title Peers

S$ should
stat

Fascinating, fickle

Pandora...

the girl

who lived for
sensation! Her songs,
her escapades,

her fabulous love
affairs scandalized
Riviera society —

for she dared to do
what other women

only dreamed about!

Under the cloak
of night, she swam
out fo the mystery yacht!

The fatal buil-fight
fulfilled a prophecy+

The champagne oY é
beach party shocked ue
the gilded set!

"at

Mad dash for glory —
M-G-M presents ina flaming racing car!

g JAMES MAsSon-Awa GARIDNER
eee Peandlota and The Flying Dutchman.

This beautiful 8” x 10“ full-color

photograph of green-eyed auburn- COLOR BY TE CH NIC OLOR

haired Ava Gardner! Suitable for

framing. Send only 10¢ to cover with NIGEL PATRICK - SHEILA SIM - HAROLD WARRENDER - MARIO CABRE

Ghee tec Written and Directed by ALBERT LEWIN * Produced by ALBERT LEWIN and JOSEPH KAUFMAN An M-G-M Picture

(For Dorkay Productions, Inc.)

All Drugstores
have Midol

READERS INC.

Cheers and Jeers:

As an ex-cosmetics salesgirl, required
to read all the beauty columns in fashion
and movie magazines, I discovered that
Photoplay consistently has the best beauty
columns. They are the most informative
and helpful. I believe that Hollywood
stars are the most beautiful women be-
cause they are groomed for individual
looks rather than the follow-the-leader
fashion models’ type of beauty(?). (Wit-
ness the number of Hollywood girls who
stuck to long hair that flattered their type
when the rest of the world was sheared—
now we're all back to normal.) Photo-
play’s beauty columns show the average
girl how these glamorous girls got that
way and therefore, how she can make
herself as individually attractive as they.

In fact I wouldn’t be surprised if
Photoplay talked me into becoming the
movie fan I used to be.

JACQUELINE O’BRIEN

S Binghamton, N. Y.

What is this “thing” called Leslie
Caron and why did M-G-M even bother
to spend money on a boat ticket to bring
her from Paris when such enchanting
stars as Sally Forrest, Vera-Ellen or Cyd
Charisse could have played her role—
without that toothy grin and annoying
accent. Send her back on the next boat,
please.

SonNY KEATING
New Orleans, La.

I just saw “An American in Paris” and
I can go on forever singing praises for the
magnificent ballet, wonderful score and
Gene Kelly. But then there’d be no room
to talk about Leslie Caron, whose win-
someness and charm make her the dis-
covery of the year.
Martua P. DALE
Brooklyn, N. Y.

Casting:

I think it is a shame that no studio has
ever filmed Frederic Wakeman’s wonder-
ful book, “Shore Leave.” I think it would
make a great movie. My vote for Crewson
would be Gregory Peck.

Pat BLODGETT
Forest Dale, Vt.

Why don’t they film a big gaudy Tech-
nicolor version of “Oklahoma!” and star
Howard Keel as Curley (the role he did
so well on the Broadway stage and in
London), lovely little Kathryn Grayson
as Laurie, and feature Debbie Reyonlds
and Carleton Carpenter as the comedy
duo?

JANET CHAPMAN
Seattle, Wash.

Readers’ Pets:

Why doesn’t anybody ever write in
about Debra Paget? She is the most
beautiful star in Hollywood. Rita Hay-
worth, Liz Taylor, Rhonda Fleming and
others look like mops compared to her.

ANDRYS YUKE
San Francisco, Calif.

Craig Hill deserves the best of every-
thing. He’s got the looks and can act
better than Clark Gable. While every-
body’s drooling over Monty Clift, I’m just
waiting for a good picture with Craig
starring in it.

Pat Harvey
Thomasville, N. C.

Question Box:
Who is the sigh guy that John Wayne
was always “riding” in “Flying Leather-
necks”? Is he married?
JuNE HINKLE
Brooklyn, N. Y.
(That was Brett
King, born 12/29/22
in Brooklyn, N. Y.
IaS Sal, 6b) Vass,
has blue cyes, brown
hair. He was a fight-
er pilot in the war,
made 100 combat
missions and came
home with many
medals. He was once a singer over Radio
station WNEW. He’s next m “The
Racket.”)

I noticed (Sara Hamilton’s) statement
re Michael Wilding in October Photo-
play. Was very amused by it. Being
English, I have seen this actor several
times. I am much interested for you to
name the wife he is supposed to have
requested a divorce from, as his fans in
Britain were under the impression that he
never has taken that step.

Mrs. Marte Drea

Montreal, Quebec
(Michael Wilding married Kay Young im
England in 1939.)

M-G-M is being quite unfair to Howard
Keel by handing Mario Lanza the star-
ring role in the screen version of the
successful stage play “Carousel.” After
all, Howard made the play a success on
the Broadway stage and I think he should
have the right to play in the film version.

DorotHy Davis

St. Louis, Mo.
(M-G-M had not bought “Carousel” as
we went to press. But Mario says if they
don’t buy tt for him, he'll buy 1t and make
it independently.)

“On the Sunny Side of the Street” was

a wonderful picture, but I would like to

know if that was really Jerome Court-
land’s voice.

HELEN PALUCK ~

Bloomfield, N. J.

(Yes. Jerry sang, too, in the musical

“Flahooley’ on Broadway last spring.)

I have just seen “Here Comes the
Groom.” The voice of Anna Maria Al-
berghetti was marvelous. Could you please’
print a picture of her and her address?

CarRoLE MAcALPIN
South Bend, Ind.

(Anna Maria was
born 5/15/36 in Pe-
saro, Italy. She has
brown eyes and har.
Her first picture was
“The Medium’; her
next, “The Goddess.”
For information on
stars addresses, see
page 77.)

Address letters to this department to
Readers Inc., Photoplay, 205 East 42nd
Street, New York 17, N. Y. However,
our space is limited. We cannot therefore
promise to publish, return or reply to all
letters receiwed.

Chief Petting
Officer!

"The Sailor's Polka”
“Never Before”
“The Old Calliope”
“Merci Beaucoup”

“Today,
Tomorrow, Forever

Directed by HAL WALKER ° Screenplay by
JAMES ALLARDICE and MARTIN
RACKIN + dscns, JOHN GRANT
Adaptation by E LWO O D U L LMA N

From a play by KENYON NICHOLSON

and CHARLES ROBINSON + New Songs

by MACK DAVIS and JERRY LIVINGSTON
A PARAMOUNT PICTURE

wn ROBERT STRAUSS

WHAT SHOULD I DO?

EAR MISS COLBERT:

I am twenty-three years old and
have been married for almost three years.
But I think my marriage is going to pieces
because of my husband’s cruel and unusual
attitude.

I am about to have our first child and
I am very happy about it. According to
everything I have ever read, a husband is
usually just as pleased about this as the
mother-to-be. In movies the husband takes
good care of his wife, wants to get a glass
of water for her, and wants her to sit
down right away the minute he hears the
news. He buys footballs and dolls and
shows in a dozen ways how proud he is.

However, my husband quickly changes
the subject every time I mention the new
baby. He worries about bills and about
finding a house we can afford since we
have to move from our apartment. He is
even talking about taking a job that would
keep him away from home three evenings
a week, and this would be in addition: to
his daytime job. He says I don’t understand
the responsibility of a child.

Miss Colbert, how can I make my hus-
band understand that he. is supposed to
be overjoyed at the arrival of the new
baby?

Ardelle R.

In reality, a man’s approach to father-
hood is different from a woman’s ap-
proach to motherhood—wmotion picture
comedies or comedy-dramas to the con-
trary. Scenes of a prospective father in
most motion pictures are acted and di-
rected with emphasis on _ oversolicitude,
an awkward anxiety. This part of enter-
tainment technique has little to do with
reality. It is often impossible for the real
life prospective fathers to assume the atti-
tude shown on the screen.

Many a prospective father is jealous of
his child, fearing his wife’s love will les-
sen. And a conscientious man must face
a new financial burden as he acquires a
family.

Your problem will vanish if you will
face the fact that a woman’s reaction to
motherhood is usually romantic, whereas
a man’s reaction is practical. This makes
for satisfactory balance because it is the
woman who must glorify the unceasing
care of the new human being who takes
over her home. And it is the man who
must provide the home’s material secur-
ity.

You might write to me when your
youngster is about sixteen months old and
tell me whether, looking back over the
period of your child’s extreme babyhood,
you still regard your husband’s serious
approach to fatherhood as “‘cruel and un-
usual.”

Claudette Colbert

DEAR MISS COLBERT:

At the age of twenty-five, I am a
complete failure. I have a job in a large
company, but it certainly isn’t a career.
My family life is tops. I keep house for
my father and brother who treat me
swell, but I want to get married. The idea
of being an old maid scares me.

YOUR PROBLEMS ANSWERED BY

I dress well and have a fairly good
figure. My face is average, my hair is

brown and my eyes gray. I used to go

with my girl friend to dances in a neigh-
boring town (on double dates) but she
would have a wonderful time and I would
be miserable. I am a good dancer, but I
can never think of a thing to say. I am
not witty and full of fun like other girls.
I simply don’t have what my father calls
ate

Now my girl friend is engaged and is
to be married in the spring, so I am left
out of everything. I always feel that
people dislike me and are laughing at me
because I am not as clever as the next
girl.

You are the only person who has been
told how I feel. My friends would be
shocked if they knew how I worry about
myself and my future.

Katie Y.

No one is ever a complete failure at
any age. Every individual on this earth
has a purpose. The trick is to find that
purpose and to pursue it diligently.

First of all, you should go to a doctor
and have a complete physical examina-
tion. Sometimes the sensation of being
useless and unimportant is caused by a
minor physical problem such as slight
anemia or a simple glandular imbalance.
Literally thousands of discouraged hu-
man beings have been turned into dyna-
mos by easy medication.

Next, you should stop thinking about
yourself and your own shortcomings and
turn your attention to other people and
other things. You should read at least
one good book a month; you should start
saving your salary in preparation for a
truly exciting vacation trip next summer ;
you should study the vacation magazines
and decide what most interests you; then
you should have your hair restyled. While
you are about it, you might ask for a
facial restyling, too. Sometimes the use
of a good eyebrow pencil and a new shade
of mascara works wonders. American

©) le) \e) be! etl rathiwly oe) fey laiterne;. J) 0! je. else) s\slelMe| (alias feliie) ite

Have you a problem which seems
to have no solution? Would
you like the thoughtful advice of

CLAUDETTE COLBERT?

If you would, write to her in care
of Photoplay, 32! S. Beverly
Drive, Beverly Hills, Cal., and if
Miss Colbert feels that your
roblem is of general interest,
she'll consider answering it here.
Names and addresses will be
held confidential for your pro-
tection.

CLAUDETTE
COLBERT

Claudette Colbert of
“Let’s Make It Legal”

Don’t bewail your ap-
something constructive

pearance; do
about it.

Claudette Colbert
DEAR MISS COLBERT:

New Year’s, St. Valentine’s, Easter or his
birthday, I sent him one of those secret
pal or “Guess who?” cards.

Several of our mutual friends told me
he was at first curious about the sende
and rather flattered. Then he began to be
annoyed. Finally someone told him that
I was the girl responsible and he was
furious. Naturally, I stopped sending the
cards. Before he knew about the cards
he used to be nice to me when we met at
a party or at school, and he used to ask
me to dance. Now everything is different,
We only say “hello” and go on our way,

How can I start talking to him and en-
couraging him to ask me for dates? How
can I make sure I am not making a fool
of myself? How can I learn the “tricks
of the trade” for getting what I want?

Tirania U.

I’m afraid your potential romance wit
this man is ruined forever.

I know that many girls rebel agains
the system, but the fact remains that a
man wants to do his own hunting. Fu
thermore, he wants to do it, usually, in a
unobtrusive way. He likes to approach
the object of his interest gradually, and
not in full view of the grandstand.

If you had sent these cards without let
ting anyone else in the world know what
you were doing, you might have produced
results eventually by sending a final card
revealing your identity. However, when
you described your campaign to a serie
of mutual friends, you defeated yourself,
Incidentally, the only “tricks of the
trade” for getting what you want are
these: Be genuinely interested in othe
people; be guided by accepted rules of som}
cial conduct; be worth while in the same
ways in which you regard others as worth
while. Avoid being arch and constructing
plots. Only the very beautiful can affor
to be arch and only the intensely clevé

can plot successfully.
Claudette Colbert

DEAR MISS COLBERT:

I am not going to sign my legal nam
to this letter because I don’t want to re
ceive a bundle of poison-pen letters
a result of what I am about to write.

Description of writer: six feet, 2 inches}
tall; eyes—blue- (Continued on page 83

f
Yer es aSpanctsn

cTuRE MARVEL /
'

joy-propelled
story of how
Hollywood
rides the skies
to bring happiness
to our G.lis !
*

a

IB x
Stars
are in it...

AND MORE
K Sc WONDERS THAN
YOU CAN Counr!
<< 5

ach DUCK WESGN RON HAGERTY

ROY DEL RUTH user JOHN KLORER wo KARL KAMB ROBERT ARTHU

covneoveaes

MRS. MARTHA WADE, right, winner of Santa Fe trip,
wore prize Doris Dodson suit to Cocoanut Grove, where she
and daughter-in-law Mrs. Darlene Hibbitt met. Tito Guizar

BACKSTAGE byplay didn’t scare Darlene! She and Mrs.

Wade went to see Hollywood play, “The Drunkard,” were
later introduced to “The Drunkard” himself and Woodie Wilson

EXCITING prelude to seeing “The Drunkard” was dinner at The

Cs

BD

Cove where the ladies were entertained by the owners, Hans

and Herman.

Restaurant is famous for its excellent cuisine

MRS. WADE, at Beverly Carleton Hotel, poses with
other prizes—Minx Modes dress, Holeproof hosiery, Sea
Nymph and Sea Goddess bathing suits and Barbizon slip

LUNCH AT Romanoff’s gave Photoplay’s contest winner
something to talk about back home. Her hostess was Joan
Crawford, who has always been Mrs. Wade’s favorite star

MRS. WADE, charming in another Doris Dodson suit, and
Darlene, joined the stars at premiere of “A Place in the
Sun,” where they met Dot Lamour, who was emcee

WINNER TAKES ALL

Another Hollywood Tour winner is transported

to the stars—Mrs. Martha Wade of Texas

One glunce—and
Dmily forgot the reso-
lutions she made that
morning !—

From JOY STREET

YOU
ps

JOY STREET, By Frances Parkinson Keyes—
When glamorous Emily Thayer met David Salo-
mont at her own wedding reception, she never
dreamed she would soon be risking everything to
see him again. The nation’s NUMBER 1 BEST-
SELLER, by author of ‘‘Dinner at Antoine’s.’’

THE INFINITE WOMAN, By Edison Marshall—
Lola Montero’s dark eyes held a challenge no
man could resist. ‘‘I’ll be your friend or your
mistress—but never your bride!’’ she said—as
she scandalized Europe with her cult of love!

FLOODTIDE, By Frank Yerby—When Morgan
Brittany lured her way into Ross Pary’s arms, he
knew she was using him to achieve some sinister
purpose. By author of ‘‘Foxes of Harrow,” etc.

SHORT STORIES OF DE MAUPASSANT—50
of most daring stories ever written. Tales of
love, hate, jealousy, passion—often imitated but
never equaled!

GET $18 WORTH OF BIG BEST-SELLERS FREE

on this amazing new introductory offer

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SLAG HT

THE NYMPH AND THE LAMP, By Thomas
H. Raddall—Grey Skane loved Isabel Jardine
with the violent longing. But Matthew Car-
ney married her to save her from her own
sins!

FORT EVERGLADES, By Frank G. Slaughter—
Pulse-pounding tale of a frontier doctor who
learned about love from his best friend’s fiancee!

Tales From THE DECAMERON—Boccaccio’s
frank tales about the amorous antics of sinning
“‘saints’’ and saintly ‘‘Sinners,’’ told with all
the daring wit for which this great writer has
become world famous. Illustrated.

PROUD NEW FLAGS. By F. Van Wyck Mason—
Confederate Lieutenant Seymour boasted that
he was always an “‘officer and a gentleman’’—
UNTIL he was tempted by the kisses of his
brother’s wife!

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TOPS AMONG the men, Tony Dexter, with CORNER ON TALENT: Alex Nicol, Dok Stanford, Joyce

Jeff Hunter, recalled lean Broadway days

Holden, a last year winner Rock Hudson, Susan Cabot

Photoplay

gives a party for
“ChooseYour Star’

winners

BEAUTY AND THE HOST: Top actress Mitzi Gaynor and Anne Francis, who came in sixth,
capture editor Fred Sammis—without a struggle—for party picture in Ciro-ette Room at Ciro’s

10

People’s Choice: You, the enthusiastic readers of Photoplay,
chose them as the most promising stars of tomorrow. Once
again Cal gives you his annual report on the cocktail party given
at the famous Ciro’s in the Ciro-ette Room! Marge and Gower
Champion, Jeff Hunter and Barbara Rush—making Hollywood
history by being the first married couples to win simultaneously.
Marge (a shining example of how a new star should dress and
behave) showing everyone her fourth new diamond in her wedding
ring. Her adoring Champion says it with a diamond every wedding
anniversary ...So young, so in love, so charmingly unsophisticated
and thrilled by it all, Jeffrey and Barbara naively
admitting they didn’t know how long cocktail parties last. So
they donned their best bibs and left the potatoes baking in the oven!
Fernando Lamas, tall, dark and tantalizing every lady in
the room, telling Mitzi Gaynor and fiance Richard Coyle that working
with Lana Turner in “The Merry Widow” (Continued on page 12)

was full of plans for tour of Korea matched fiancee Loraine Gayle’s ring

BARBARA RUSH, with Fernando Lamas, Mitzi, IT WAS FOURTH wedding anniversary for the
left potatoes baking in the oven to attend party! Champions, with Hollywood editor Lyle Rooks

A NEW ROMANCE? Looked like it—for every-
where Janice Rule went—Bob Sherwood followed!

MONICA LEWIS, with Pier Angeli, LOVELIGHT IN Bob Clarke’s eyes

MITZI MEETS Photoplay’s scholarship winner
Virginia McGuire, who came with Dick Clayton

Listen to Photoplay’s Hollywood Columnist

cal york on “hollywood love story”

Every Saturday morning, 11 A.M. EST,
NBC ... the latest Hollywood news and
a complete -drama of Hollywood life

KEN TOBEY, with wife and Fernando Lamas, P
added to fun with tall tale about “The Thing”

12

THAT’S
HOLLYWOOD
FOR YOU

BY SIDNEY SKOLSKY

I like Kirk Douglas personally but I wish he’d stop giving
that aggressive performance in which he leads with his
dimpled chin . . . Gary Cooper is certainly in love. He re-
ported for work on the set of “High Noon” having forgotten
to put on his socks . . . I go for Jean Simmons’ honesty. She
says that Laurence Olivier is her favorite actor “regardless
of how it sits with Stewart Granger” ... Cary Grant taught
me how to tie a Windsor knot. On him it looks better .. .
The last funny movie I saw about the Army was “Shoulder
Arms,” with Charlie Chaplin. And that goes for Martin and
Lewis in—what was the name of that picture? ... I don’t
want to disillusion you but Gregory Peck wore bobby pins
to keep his hair wavy to be David to Bathsheba . . . Marilyn
- Monroe is “The Girl with the Horizontal Walk” . . . Corinne
Calvet prefers a tub to a shower. Corinne can come home from the studio exhausted.
Then husband John Bromfield prepares her bath. “Johnnee he put me in tub,” she
says. “He rub my back and soon I am new again” ... When Dagmar was in Hollywood
she was introduced to Jane Russell, but the two girls didn’t get close enough to shake
hands.

Cary Grant

Alan Ladd claims he’s a movie fan and enjoys all pictures but his own. Maybe
he’s a critic, too ... I know the manager of a movie theatre who got fired because
he watched television in his office instead of selling popcorn in the lobby . . . Danny
Kaye loves audiences. “‘What a feeling,” says Danny, “to get out there and know
the people like me and I like them and to have a big session together” . . . Clark
Gable deserves better pictures! ... My favorite character, Mike Curtiz, said to a
writer, “It’s always good to get an original idea that will remind people of a hit
movie.” :

I seldom pass the old Trocadero without thinking of Judy Garland making her debut
there before a Hollywood audience singing “Dear Mr. Gable” ... By the way, you
should catch Shelley Winters doing her impersonation of Judy singing “Love.” Great!
... Marlon-Brando says, “I became an actor because it’s the easiest way I know to
make big money” . . . Don’t know why it is, but I can see a movie in the afternoon
only in a projection room. Wouldn’t think of going into a
theatre when the sun is shining . . . Having Jane Russell
disguised as a boy—they do it for a scene in “Son of Pale-
face”—is like trying to make the Pyramids in Egypt look like
the plains of Nebraska . . . Sally Forrest sits and watches a
movie with a tiny dog in her lap. I’d like to catch her when
they’re both watching Lassie . . . I can’t understand why
producers think Westerns are sure-fire. They all seem alike
to me and, besides you can see them on TV for free.

[oo TY

I saw Janet Leigh and Tony Curtis walking on Schlepp
Row, and Tony looked prettier ... Many of the people who
criticize Mario Lanza for being temperamental are the
same people who say that movie stars aren’t as colorful as
they used to be . . . When asked why he works so much,
Bob Hope answered, “I’ve got to keep working. After all,
I’m a comedian and I’ve got a government to support” ... Just so you'll know, as
a rule, phony jewelry photographs real and real jewelry photographs phony.

Sally Forrest

Iam a fellow who can wait patiently for the next Rita Hay-
worth movie ... If you’re interested, Jane Wyman keeps her
Oscar on her mantelpiece, greeting it on her way to work...
Vivian Blaine didn’t win the affection of the coast company of
“Guys and Dolls” by saying that not one of that troupe could
have made the New York cast. Ray Shaw, a singer in the com-
pany, countered with praise for Pamela Britton, who does the
Blaine role, by saving, “Miss Britton is a dumb blonde only
on stage”... Vic Mature was turned down by an exclusive
golf club because, they said, they didn’t take in actors. Vic
told them, “I’m not an actor and I’ve got over thirty pictures
to prove it!” ... The toughest job M-G-M had with the
gigantic “Quo Vadis” was Nero and his fiddle. Everybody
knows Nero fiddled while Rome burned, but no one knows
what he fiddled, so M-G-M had Miklos Rozsa write some
original music for Nero to fiddle. And that’s Hollywood for you!

Victor Mature

_.. INsipe

was such a happy experience, “It has
spoiled me for peek-cheers forever!”’...
Bob Sherwood, who just left M-G-M,
wangling an introduction to and never
leaving the side of Janice Rule, who just
signe1 with M-G-M ... Personal to Fred
MacMurray: Joyce Holden, who has the
face, figure and flair for the kind of
comedy that made you and Carole Lom-
bard such a sensational team, confessing
her greatest dream is to play opposite
you... Alex Nicol reminiscing with An-
thony Dexter (who sat in a corner with ©
his lovely wife and acted more like a
spectator than guest of honor) about
Broadway when both were struggling
actors! Last year’s winner Rock
Hudson, who was on location and missed
the 1950 party, saying he owed his
“second chance” to Susan Cabot, who
asked him to be her escort... Vivacious
Monica Lewis intriguing Anne Francis
and Pier Angeli (she almost looks too
“natural”) with details of her coming
tour to Korea, where she’ll sing for
G.I.’s Robert Clarke introducing
Loraine Gayle who proudly wears the
diamond that belonged to Bob’s mother
on her third finger, left hand .. . Ken-
neth Tobey telling a tall tale about a
“thing” that happened to him when he
had a seance with a medium and talked
to an 18th Century minister—who used
20th Century dialogue! ... Charlton Hes-
ton wiring regrets from the East where
he was making personal appearances...
Ditto Bob Wagner and Polly Bergen,
who were on a COMPO tour ... The
stars of tomorrow! Cal can’t wait for
them to light up the skies of Hollywood!

Hearts and Flowers: There’s a damsel
deep in the heart of Texas that has
Danny boy making those Dailey calls.
Her name he is happy not to furnish upon
request! . . . Time doesn’t march on—it
gallops! Now it’s Maureen O’Hara’s
young brother who’s buying Cokes for
John Wayne’s eldest daughter ... Cesar
Romero is saying it with orchids, because
he thinks those dates with Denise Darcel

IN M-G-M COMMISSARY, Debbie Reynolds
hears about stage show Howard Keel hopes
to do of his film “Callaway Went Thataway”

are the most fun to be had in Hollywood
... Ann Blyth didn’t need the studio to
arrange a furlough date for Richard
Long. They’re old friends, which is why
he escorted her to the Press Photog-
yaphers’ Ball... Virginia McGuire, who
won Photoplay’s Scholarship Contest,
was having tea at the studio with War-
ners’ casting director. Steve Cochran
sat down for a second and the following
day they were a “torrid twosome” in the
local gossip columns! Virginia is learn-
ing her Hollywood lessons early.

Baby Talk: ‘Half Nelson” wants a
baby sister, so the Gene Nelsons have
placed their order . According to
X-ray technicians, that little girl is
going to be a second son, which will disap-
point the first son of the Mark Stevenses
... It’s a second son for K. T. Stevens
and Hugh Marlowe, who optimistically
believe their third will be a girl’. . . Her
name is Romina Francesca Power. Ty
and Linda made this selection because
they met in Rome and were married in
the Santa Francisca Cathedral . . . Since
the arrival of his daughter, John Hodiak
is so candid-camera happy, Anne Baxter
says their negative bills are very posi-
tive ... Audie Murphy, who has “always
wanted a kid,” is marking off the calen-
dar until next March... “If you needed
a good rest,” inquired Jeff Chandler of
Steve McNally, “why did you take your
three children to the giant redwoods?”
Answered the perpetual papa: “Because
—when you have siz, as I have, it’s like
being alone—with three!”

Tantalizing Troupers: Come with Cal
and visit “Inside U-I of 1951.” Once a
year the studio puts on a show to show
producers and press how versatile their
newcomers can be. We only wish we
could tell you about the undiscovered tal-
ents of each and every one. There was
“My Girl,” clowned to hysterical perfec-
tion by Joyce Holden, who was admirably
assisted by newcomer Palmer Lee—a boy

(Continued on page 14)

LANA TURNER’S an exciting figure in
“The Merry Widow” with Fernando Lamas.
She slimmed down to a 21-inch waistline!

Hollywood
Party Line

BY EDITH GWYNN

The nighttime doings this month included
a lovely dinner, followed by a fashion show
(mostly the creations of French stylists
Dior, Balmain, Fath, Patou, etc.), at the
Ambassador Hotel for the benefit of the
Los Angeles Orphanage Guild. Emcee Ros-
alind Russell sparkled not only wittily but
fashionably in a two-toned blue satin dress.
Walter Pidgeon seemed to enjoy his stint
as auctioneer later when beautiful jewels
and other prizes went under his hammer
Mervyn LeRoy bought for $1,200 a mink
cape Ann Blyth modelled.

Then there was the glittery premiere of
“Streetear.”” Ronnie Reagan with Nancy
Davis were a woosome again. Also the
Jeff Chandlers, Joan Crawford in a white
gown, dazzling with white sparkly stuff,
with director Curt Bernhardt, the Gordon
MaeRaes, Dan Dailey with Ann Miller (he
switched to Jane Nigh as his favorite date
a week later), Paul Douglas in a black

Pat Wymore and Errol Flynn

raw-silk dinner jacket (fashion note!), Scott Brady with Dorothy Malone and the

Gene Nelsons cheered the stars of the picture, Vivien Leigh and Marlon Brando.
White sure predominated this opening. Pat Wymore Flynn (see cut) wore an off-
shoulder Dior original of white tulle. Millions of permanent pleats made the skirt,
which was held in at the waist with a pink satin cummerbund. Pat wore that string
of pearls Flynn brought her from Korea, plus a white mink wrap.

It’s really been a month for fabulous fashion showings. Rex got most of Hollywood
out at ten one morning to show his new lids. There were lots of bejeweled cocktail
hats with accent on what goes on in back. Meaning trimmings were set where the
view from the rear would be the most exciting .. . Irene proved again that anything
goes in the way of line this season by showing many slim suits and dresses among the
folds and fullness of the current craze in skirts. Some of her skirts were really gay
deceivers in that they looked too tight to walk in but had wonderfully cut inserts of
knife or fan pleating center front or on the sides that didn’t even show .. . Sophie
showed her always glamorous collection at a dinner dance at Romanoff’s. Her coats
seemed to dominate proceedings and they were in every kind of fabric, design and
silhouette . ,. Whether your coat is old or new, there are ways to make it seem like
two outfits by simply relining it with a silk or crepe of some hue vivid enough to be
noticed but not so bright that it won’t blend with most of your wardrobe. For
instance, a black coat lined with a deep ruby red will be compatible with just about
any color (particularly grays, beiges, blues, mauves) and what a lift when the color
contrast swishes into view. If your ward-
robe is mostly of black, brown, navy or
dark green, how about a bright yellow lin-
ing with gloves to match? Irene Dunne
lined a black coat with electric blue sheer
wool—wears it over black, brown, gray or
blue. And she’s cuffed it with huge turn-
backs of black fox. But any number of
furs would give the same stunning effect.

One shindig we can’t overlook was the
jammed session that crowded the Beverly
Hills Rodeo Room to view Red Skelton’s
TV debut. They watched it from many
sets placed about the place, then dined
and danced. Among those who fell apart
over Red’s antics were Esther Williams
and Ben Gage, Lex Barker and Arlene
Dahl, June Haver with Bill Campbell.
Red, bless him, was so overcome from all
the back-pats he was getting that in his
excitement he leaned over to embrace
Monica Lewis and kissed John Wayne by
mistake!

Red Skelton and John Wayne

13

14

WHAT

HOLLYWOOD'S
WHISPERING
ABOUT

BY P. S. LOWE

Ginger Rogers

The Stewart Grangers getting over
that “first year” hurdle. Stewart was
all set to take off somewhere by himself
after finishing “Scaramouche” but he
and Jean ironed out any difficulties they
may have had and are looking forward
to co-starring in “Young Bess”... Kirk
Douglas’s sudden and intense desire to
become a director . Those three
sweater changes that Barbara Stanwyck
gets in “Clash by Night,” which proves
she can hold her own in the upper
brackets. And, as a contrast, Bette
Davis’s complete wardrobe for “Phone
Call from a Stranger”—a faded night-
gown and a swim suit.

The trouble Ginger Rogers had in
getting her show, “Love and Let Love,”
to Broadway! Dissatisfied with the
notices, the author wanted to close out
of town. But Ginger was determined
to see it through. Some of the biggest
names on Broadway were called in to
rewrite the script but consensus of
opinion was that Ginger should have
let the show die on the road .
Eleanor Parker’s candid remark: “I
want children and lots of them—
enough to make the John Farrows
(Maureen O’Sullivan) look like slack-

ers.’ The Farrows have seven now.

Marilyn Monroe’s official excuse that
she couldn’t attend the Press Photog-
raphers’ Ball because she had nothing
to wear. But the real reason, which she
confessed to intimates, was she didn’t
have an escort ... The Shelley Winters-
Vince Edwards-Farley Granger triangle.
Shelley, after doing up Paris each night
with Farley, would return to her room
and place a transatlantic phone call to
Vince. Vince makes no secret of the fact
that he’s going full speed ahead to get
Shelley for his own exclusive property
... The trouble Columbia has been hav-
ing renaming Judy Holliday’s leading
man in “The Marrying Kind.” They
changed his name from Aldo Da Re to
John Harrison—and now it’s simply
Aldo Ray—subject to change again,
without much notice, of course.

——— rs re rs re rs es ms nn es ee ee es ee ee ee ee i

_.. INstpe STUueEF

EMBARRASSING MOMENTS: When Gary Cooper
took Pat Neal to the Mike Romanoff party for
Mrs. Dolly O’Brien (Gable’s ex-girl friend) ...

(Continued from page 13)

who can’t miss. A highly dramatic mono-
logue by Tony Curtis touched everyone
to tears. Rock Hudson’s transition from
a sexy love scene to a rendition of the
Charleston was a revelation within itself.
Peggy Dow, Hugh O’Brian, Beverly Ty-
ler, Susan Cabot, John Hudson, others
too numerous to mention—all brilliant
under the brilliant direction of drama
coach Sophie Rosenstein. What perform-
ers these kiddies be!

Man Hunt: There’s a “red” carpet
awaiting Farley Granger, but not the
usual one accorded returning celebrities.
Boss-man Sam Goldwyn is annoyed
a-plenty at his handsome young star.
Far] was supposed to return from touring
the continent with Shelley Winters, on a

Sod

.. « ONE OF THE first people they saw was Rocky
Cooper, at a table with Van Johnson. Rocky, who went
with Cesar Romero; still refuses to give Gary a divorce

certain date. He failed to return, he
failed to send word that he wasn’t return-
ing and no one knew where or how to
reach him. Even his agents and his
family didn’t know which country he was
in. In all fairness to Farley, he knew
there wasn’t a script ready to shoot and
he was perfectly willing to remain off
salary until there was. It’s happened
before and it will probably happen again.
Faraway places hold a fatal fascination
for Farley. But give him credit for hav-
ing the courage of his convictions.

It’s News That: Peggy Dow has finally
capitulated and will become Mrs. Walter
Helmerich III (that means heir to an oil
fortune, son) and will commute between
a honeymoon house in Tulsa and Holly-

(Continued on page 16)

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P

16

impertinent
Interview

BY ALINE MOSBY

U. P. Hollywood Correspondent

Coleen Gray

Many a Monday morning Coleen Gray
has stepped into her mink coat and
snappy convertible and left her impres-
sive Santa Monica home for an impor-
tant 11 a.m. appointment. Her urgent
rendezvous was not with a movie mogul
or a purring salesman for imported
black sable.

Coleen high-tailed over to the USS.
Employment Service office to collect her
$25 weekly unemployment check. She
stood in line with many another fa-
mous film name. The others won’t ad-
mit it. But the beautiful Miss Gray
herself proudly announced to us that
she’s been a member of the “Monday
Morning Club.”

“When I’m between pictures, I’m
among the great army of the unem-
ployed,” she shrugged. “It’s my legal
right to get my insurance. After all,
its my money. It’s been taken out of
my pay checks ever since I first started
work in 1939 as a waitress in St. Paul.”

The public, she sighed, figures stars
can upholster their Cadillacs in green-
backs. “They think we make a mint of
money. But after taxes and expenses
you just can’t make a fortune. Also,
our expenses go on when we're not in
a picture.”

When Coleen accepted the lead in the
touring company of “The Moon Is Blue”
she went off the $25-a-week list. But
if she is out of work again she will once
more apply for the insurance. “This
business has been difficult,” she said.
“People say I’ve been very lucky. I’ve
done a lot more in the past two years
than many otkers with as much or more
talent than I.”

The blue-eyed beauty said autograph
fans could have a field day at the USES
office. “Oh, you meet all your friends
there,” she grinned. “I couldn’t give you
their names, though. That would be up
to them. I’ve met some fans in line,
too. One man said if he had money to
invest he’d star me in a movie. One
clerk at the USES showed me a fine
movie script he’d written.”

Well, we wanted to know, is she
nearly broke?

“Oh no, don’t make me out to be
broke,” she said. “I have a house in
Santa Monica and money in the bank.
But I have parents and a child to sup-
port. The unemployment money is
mine, so I take it—and am grateful for
it. This business is terribly insecure
You never know what will happen.

“Oh, well, if this doesn’t work out I can
always go back to being a waitress!”

_.. INSIDE

STUFF...

ALANA, ALAN, DAVID and Sue Ladd arrive at
Hearst estate for St. Anne’s Foundation Benefit.
Hollywood put on big show to raise needed funds

WHEN GENE TIERNEY went on three months’ tour of —
France and Italy she took her daughter Tina along.
Here Tina plays in the Tuileries Gardens in Paris

(Continued from page 14)
wood .. . Clark Gable, as rumored, did
file suit for a Nevada divorce, all of
which caused Sylvia to amend her orig-
inal complaint and may result in a bloody
legal battle that involves a small alimony
fortune . .. Gloria De Haven decided to
accept her interlocutory divorce decree
from John Payne and now she’ll live in
New York and make two pictures a year
in Hollywood .. . Since that unfortunate
early morning traffic scrape that involved
Judy Garland and Sid Luft, his ex-wife,
Lynn Bari, obtained a court order for
him ‘‘to show cause why he should not be
forbidden to see their three-year-old son,
except under limited conditions.”

For Your Information: The Screen
Actors Guild hoped to establish a prece-

dent that would have revoked the mem-

bership cards of Barbara Payton and
Tom Neal... The M-G-M-Greer Garson
relationship has reached a point where
they could easily come to the parting of
the ways ... Alex Nicol was such a hit
in Frank Sinatra’s “Meet Danny Wilson,”
he’s getting a new contract and star
billing ... Gig Young’s overdue reward
is a new M-G-M contract (Cal tipped
you off several months ago) with a four-
figure weekly salary ... Patrice Wymore
stood right next to Jeanne Crain at the
meat counter in the Laurel and Sunset
market. Neither housewife recognized the
other . . . Scott Brady: moved out of
that apartment and into a hilltop home,
because he likes to play records loud and
long after midnight . .. No one would

(Continued on page 21)

Grab your gal! Grab your guy! Grab yourself

two tickets to the Broadway hit that's got everything!

Torchy songs...sizzling dances...high-voltage loving...

and a laugh for every light on the Great White Way!

*

starr) ng

TONY JANET GLORIA EDDIE ANN
MARTIN LEIGH DeHAVEN BRACKEN MILLER

snBARBARA LAWRENCE - BOB CROSBY eatring THE CHARLIVELS. Seen diet oy RADIO

SID SILVERS & HAL KANTER + JAMES V. KERN V

18

DUSTY HAS HIS own tractor but Linda Lou, a carbon copy of her dad—she even walks like Roy—prefers hitching a ride

1 &

with him. Although he has men to do farm chores, Roy loves to plow. As a boy he helped father run Duck Run farm in Ohio

CHERYL IS THE family pianist—
doesn’t have to be coaxed to play when
Linda Lou, Dale and Dusty want to sing

COWBOY'S
CASTLE

When Roy Rogers and Trigger
aren’t riding those movie
ranges, they head for this

San Fernando Valley home

Iw SPITE OF movie, radio, rodeo and
TV schedules (Roy and Dale debut
on TV December 30) life on the
Rogers ranch is casual and homey.
Roy, who is in “Son of Paleface.”’ is
an adoring father, but strict. Among
other chores, Cheryl exercises the
horses (she loves to ride bareback)
and Dusty and Linda Lou take care
of the chickens.

- gn ies ot et ae = pri
THE HOUSE is rambling, a one-story
ranch style. Behind it are tennis courts,
fenced-in swimming pool and stables

ROBIN ELIZABETH, age one, is still
delicate but making fine progress. She
adores Dusty, follows him everywhere

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(Continued from page 16)
take that bet that writer Cy Howard
would be the first to date Lana Turner.
The pattern was too familiar!

Lime-light: Unfortunately, in every
public gathering there’s always some
maladjusted person like the one who
threw limes at Dorothy Lamour and
Debra Paget. They were in Brockton,
Massachusetts, on a ‘“Movietime,
U.S.A.” tour, when the shameful in-
cident took place. La Lamour, a sea-
soned trouper, took it in stride and
cracked, “I just forgot to duck!” For
Debra, who is sweet, sincere and un-
used to the world’s pettiness, it was a
shock that left a lasting impression.

Bulls and Belles: Amongst other
European achievements, Yvonne De
Carlo returned home (to play opposite
Joel McCrea) bearing gifts of jewelry
from Mario Cabre. Hollywood’s now
wondering and waiting to hear if the
famous matador, who once held public
readings of his poetry dedicated to
Ava Gardner, will come up with a re-

BILL DOZIER—crowned favorite bachelor of the month by 4 F’ers (for Fame, Fun,
Fortune or Fortitude) Dru Mallory, Marie Windsor, Ann Sheridan—views Marie’s
etchings, right. Girls meet twice monthly at Romanofi’s to look over bachelor crop

peat performance!

Grand Old Girl: Dark-eyed and dev-
astating, she stood there looking up at
the Superior Court Judge. “How old
are you, Joan Eunson?” he asked the
routine question. Without a moment’s
hesitation, she answered: “I’m four-
teen, your honor.” Poor Joan Evans
wished she could have disappeared
through the floor! “Now why did I say
that?” the well-poised seventeen-year-
old wailed at home that night. Having
selected wise parents, she received a
wise answer. “You stopped being Joan
Eunson at fourteen,” they explained,
“but it is still your legal name. When
the judge used it, you subconsciously
went right back to the age when you
last were Joan Eunson. It was an
honest, normal reaction.” Eunson or
Evans, we love her! She couldn’t be
happier having her fifth option taken
up by Sem Goldwyn.

Picture Palaver: It’s one of the
most entertaining movies of the year,
but they may recall “Angels in the
Outfield” and retitle it. Currently it
isn’t attracting the cash customers...
For over ten years she’s been their
number one box office star, but her
studio never bought a big Broadway
musical for Betty Grable. That’s why
she’s campaigning for “Gentlemen
Prefer Blondes’’—and they do when the
blonde is Betty! . Rock Hudson
finished his final scene in “Bend of
the River,’’ drove his best girl to Santa
Barbara for dinner and discovered he’d
left his wallet in his dressing room.
Fortunately, the head waiter had just
seen “Iron Man” and happily extended
credit ... For the first time in her
illustrious career, Bette Davis wears a
one-piece bathing suit in “Phone Call
from a Stranger.” She insists, how-
ever, it won’t cause Esther Williams
to lose a stroke—or have one!

According to Cal: Our girl is grow-
ing up! Debbie Reynolds seen shop-
ping for gold cuff-links in miniature
ice-skate design. Surprise—Surprise!
They were a present for ice skating

star Bobby Specht... Gregory Peck’s
complete exhaustion from overwork
necessitated his resignation from La
Jolla Playhouse activities and enforced
a no-picture-making respite . .. The
Van Johnsons delighted guests by
marking each place at the dinner
table with a Holy Medal blessed by
the Pope ... Doris Day will next
record an album of beddie-bye stories
for the kiddies, with soothing, sweet
songs by soothing, sweet Doris to go
with ’em.

Grape-Vine: Well, at least twenty-
four hours went by before those
rumors started to spread. On Sunday
Fernando Lamas announced that Mrs.
Lamas was returning to Argentina
for a second trial separation. Her
handsome husband pleaded with the
press to ‘Please write nicely because
my wife and 1 are the best of friends
and I wouldn’t want this announce-
ment to hurt her.” The press “wrote
nicely.” On Monday, however, the
rumor rumbled that Fernando was
romantically interested and vice versa,
in Lana Turner. It probably had to
happen. They would make a_ hand-
some, romantic-looking couple. They
are making “The Merry Widow,” to-
gether and Fernando did escort Lana
to the “American in Paris” premiere
in Hollywood.

As We Go to Press: His studio is
gravely concerned over the thyroid
condition that’s preventing Mario
Lanza from reattaining his normal
weight and appearing before the
camera... Rossellini says “It’s bunk”
and Ingrid Bergman says “It’s sheer
fantasy,” which is this month’s denial
of those habitual divorce rumors...
Along came a black-widow spider who
sat down beside her—and bit her! But
Kathryn Grayson is recovering ...
Audrey Totter’s visit to the United
Nations hospitals in Korea has her
crusading for badly needed visitors

from Hollywood ... Roy Rogers won
his Federal Court suit to enjoin the
showing of his ‘old’ pictures on TV
for commercial purposes .. . It’s all
over but deciding whether they’ll live
in his or hers, on account of because
both Mr. and Mrs. Howard Duff (Ida
Lupino) have houses at Malibu Beach
..-. Angela Lansbury is now wearing
those maternity blouses that Mrs.
Tyrone Power no longer needs.

Set-Stuff: It was just like the good
old days of movie making. On a sound
stage, Cal watched Mervyn LeRoy di-
rect one of those fabulous fashion
shows for “Lovely to Look at.” The
gowns designed by Adrian (he was
brought back to M-G-M to repeat for-
mer triumphs) were positively sensa-
tional looking models. Just as they
were ready for a take, Zsa Zsa Hilton
(Mrs. George Sanders), who has such
a fantastic jewel collection, walked
on the set. She was wearing that huge
square-cut diamond that almost covers
one hand. Red Skelton took one look,
shielded his eyes from the blinding
glare and pretended to swoon. “Why,
Red!” exclaimed Zsa Zsa. “It isn’t new!”
Then Red did swoon.

Best Man: Of all the days to an-
nounce their marriage was shaky, a
local columnist picked the day Ruth
Roman and Mortimer Hall were mov-
ing into their own beautiful new
Brentwood home. Take it from Cal,
who was there for a preview peek, not
even this stupid untruth could have
spoiled the excitement of this dream
come true. Just to give you a little
idea of how happy they are, Morty
presented his bride with a little house
present, which was a little ol’ Aleutian
mink stole. She gave him one of those
fabulous new relaxing pillows. Plug
it in and while you’re sleeping it mas-
sages the neck and head. Morty figures
it will come in mighty handy when the
first of the month rolls ’round!

DICK WESSON, Ruth Roman, Janice Rule and all-star cast in
gay musical based on Hollywood’s service entertainment units

¥Y (F) Starlift (Warners)

EGARD this, please, as a good deed movie. It tells of the

morale building the Hollywood stars do for servicemen
leaving for and returning from the Korean front at Travis
Air Force Base, Fairfield, California. Entertainment min-
gles pleasantly with reality. And romance is heightened by
actual scenes of embarkation and debarkation. Such stars
as Doris Day, Gordon MacRae, Jane Wyman, Virginia
Mayo, Gene Nelson, Ruth Roman, James Cagney, Gary
Cooper, Frank Lovejoy, Patrice Wymore, Phil Harris and
Randolph Scott play themselves. Janice Rule and Ron
Hagerthy provide the romance, Janice playing a Hollywood
starlet and Ron a young corporal and member of the crew
flying troops back and forth between the base and Hono-
lulu. When his buddy, Dick Wesson, leads Janice to believe
he and Ron are off to the front, she tenderly kisses Ron
farewell and Louella Parsons prints news of a romance.
When Janice discovers the truth, the romance pops higher
than a champagne cork. Between sessions of the stormy
love affair, Doris, Jane and Gordon sing, Janice and Gene
dance and Gary, Frank and Phil cut capers.

Your Reviewer Says: A good deed well done.

Program Notes: Visits by Hollywood personalities to Travis Air
Base are now a weekly event. They had their inception when
Ruth Roman first visited the field over a year ago. When Louella
Parsons and other stars became interested in the project, pro-
ducer Jack Warner immediately began production on “Starlift.”
Backgrounds for the film were photographed on the base. In-
cluded were scenes of the flight line, evacuation of patients from
a C-97, the terminal cafeteria, the base theatre and hospital. Brig-
adier General Joe W. Kelly, division commander, gave the weekly
flight from Burbank to Travis Field its name, “Operation Star-
lift,’ and was a frequent visitor throughout the shooting. Major
George E, Andrews acted as technical adviser . .. Janice Rule
makes her debut in the film, coming directly from the Broadway
stage ... Young Hagerthy, a local boy, played Frank Lovejoy’s
son in “I Was a Communist for the FBI” and won a contract for
his work in this one.

“¢ V¥ OUTSTANDING |

¥’ GOOD V FAIR

WHEN HEDY LAMARR mistakes burlesque clown, Bob Hope,
for a foreign agent—the fun takes on an international flavor

vv (F) My Favorite Spy (Paramount)

HIS is a Bob Hope movie so need we say more? If so,

we can say it in two words—Hedy Lamarr. With Beauty
and old Scoop Face as a team it doesn’t matter much what
the story is about. But briefly, Bob is a burlesque clown
who is called upon by government agents to impersonate
an international spy who could pass for his double. Or
vice versa. The dangerous adventure takes our hero to
Tangiers and straight into the arms of glamour Lamarr.
Any resemblance to sanity in any department of the story
from then on is strictly a coincidence but who cares? It’s
funny, it’s entertaining and you'll probably love it. The
ending is funnier than an old time slap-stick comedy with
Bob swinging in the breeze from the end of a fire-truck
ladder.

Your Reviewer Says: Go on, split a gusset, what do you care?

Program Notes: Hope left for England the minute the film was
finished to make personal appearances at the Prince of Wales
Theatre in London for an English charity. He later flew to Ger-
many and France where he entertained our troops . . . Johnny
Mercer and Robert Emmett Dolan wrote the “I Wind Up Taking
a Fall” number and Jay Livingston and Ray Evans composed “Just
a Moment More” which Hedy sings—and for the first time on
the screen. Francis L. Sullivan, the ample Englishman who plays
the villain, was so broken up by Hope’s antics he could scarcely
get through his scenes . . . Mike Mazurki interrupted an exhi-
bition wrestling tour to fly to Hollywood for the role of Monkara,
one of Sullivan’s henchmen. Mazurki, who began his wrestling
career in 1935, has alternated from camera to canvas ever since...
Hank Hope, Bob’s nephew, made his final appearance before the
camera as a foreign agent, before reporting for active duty with
the Army. Hank hopes there’s nothing prophetic about the fact
he gets considerably bumped off in his Uncle Bob’s film.

For Complete Casts of Current Pictures See Page 87. For Best Pictures of the Month and

|

F—FOR THE WHOLE FAMILY
A—FOR ADULTS

ALEX NICOL, Frank Sinatra, Shelley Winters re-enact fictional-
ized facts about a brash young singer’s fight to reach the top

vv'% (F) Meet Danny Wilson (U-I)

UITE simply this is a frank story about Frank. Or if
Sinatra is not actually playing himself, then he comes
close enough to his now familiar past of brashness, rash-

ness, lavishness and ingratitude to tread on his own toes.

| In fact, this amazingly semi-autobiographical honesty serves

to intensify the story, grip the interest and shoot the film

_ right up to entertainment importance. And Frank is good,

better than he’s yet been on the screen, playing a smarty-
pants singer who hits big time replete with squealing fans,
public brawls, salary splitting and a break with his loyal

| friend and manager, played by Alex Nicol. Shelley Winters,
| larger in every direction than her lover-boy Frankie, seems

the only discordant note in the picture. Raymond Burr

_ is the hoodlum who plagues Frankie into sudden maturity.
| Your Reviewer Says: Solid!!!

| Program Notes: To quote from Universal, “Certain scenes in the

script about a nobody from the streets of New York who wallops
his way up to become the nation’s number one crooner are tail-
ored right from the pattern of Sinatra himself, who came up
from the sidewalks of New Jersey.” And, to quote Frankie, “It’s
like turning back the clock. This is such a fine line between
real life and reel life that I’m a little confused. Do I really have
make-up on?” ... Mr. Sinatra remained true to life in the croon-
ing department as well, refusing corny novelty songs for such
standbys as “Old Black Magic” and “When You're Smiling.” The

| studio ordered Frank to add five pounds to his 139 but after a
diet of goat’s milk, fat beef and whipped cream, he discovered

he’d lost a pound and a half ... Tall, blond Alex Nicol played
Henry Fonda’s understudy in “Mr. Roberts” before Universal
signed him ... Raymond Burr was once a fire-fighter for the
Forestry Service in Oregon and will be remembered as the D.A.
who sends Montgomery Clift to his death in “A Place in the Sun.”

BY SARA HAMILTON

ROBERT TAYLOR learns never to underestimate the stamina
of a woman—like Denise Darcel—in this Western of pioneer days

vv (F) Westward the Women (M-G-M)

CROSS wide prairies, rugged mountains and endless
deserts, march 140 women to men who will marry them
in a far-off California valley. Led by Robert Taylor, a
veteran guide and scout, the women march through a page
of American history, their footsteps echoing the heroism of
the dauntless courage of the women of our pioneer days.
The story opens in a small Chicago meeting hall. There
John McIntire recruits women as wives for the men who
live and work in his fertile California valley. During their
heartbreaking trek west they endure floods, Indian attacks,
desertion by the men of Taylor’s crew. And some die on
the way. Denise Darcel and Julie Bishop, “fancy” girls out
for a new start—bluff and hearty Hope Emerson, Beverly
Dennis—the frail schoolteacher—and Italian Renata Vanni
are outstanding among the women.

Your Reviewer Says: A powerful Western.

Program Notes: M-G-M sent the largest location company in
studio history 1,000 miles to the historic California Trail of the
forty-niners . . . Robert Taylor returned from seven months in
Italy making “Quo Vadis” to take on the colorful role of Buck
Wyatt . . . Denise Darcel, the “friendly” native of Bastogne in
“Battleground,” won the role of Fifi Danon who captures the
heart of Taylor, after director William Wellman had tested many
others . . . After Wellman saw University of Hawaii student
Henry Nakamura in the role of Tommy in “Go for Broke,’ he
wrote in the part of Ito for the small actor.

Best Performances See Page 26. For Brief Reviews of Current Pictures See Page 86

24

(F) The Lady Says No (U.A.)

OMEQNE with an antiquated sense of

plot construction thought it would be
screamingly funny if David Niven, as a
photographer for “Life” magazine, and
Joan Caulfield, as a prudish young au-
thoress, should spend time in a sleezy
night. club, a trailer and Heaven knows
where else while Joan gets herself human-
ized. Maybe we’re wrong about this, but
the people around us weren’t amused or
even slightly entertained. That’s for sure.

Your Reviewer Says: Not as funny as it was
meant to be.

Program Notes: Joan Caulfield’s husband,
Frank. Ross, makes his directorial debut in
this one and acts as producer along with
John Stillman Jr. Mr. Ross recruited most
of the supporting players from the New York
stage . .. Frances Bavier, who plays Miss
Caulfield’s aunt, has had twenty-five years of
Broadway experience and Lenore Lonergan,
young stage comedienne, plays Goldie, James
Robertson Justice (Uncle Matt) is a popular
actor tn Britain.

V (A) The Big Night (U.A.)
OHN BARRYMORE JR. becomes em-
broiled in a moody, oppressive bit of

drama that advances the march of movies
no farther than the nearest wailing wall.
However, it does reveal quite clearly that
the Barrymore lad has talent and if not
hampered continually by comparisons to
you-know-who, may one day become a
fine actor. Shame and revenge are the
forces that propel John Jr. through the long
night of gloom that blankets this one.
Shame for an adored father, Robert
Preston, who suffers a beating without
protest and the urgency for revenge on the
man who delivered that beating, Howard
St. John. Philip Bourneuf is the professor,
Joan Lorring the sympathetic girl.

Your Reviewer Says: Help yourself to a load
of “miseries,”’ folks

Program Notes: Joan Lorring returned to
Hollywood and “The Big Night” after a long
run on Broadway in “Come Back, Little
Sheba” ... All sorts of complications beset
Barrymore after this film. Leaving the cast
of a stage play a few nights before opening,
for the simple reason he didn’t feel himself
capable, brought him chastisement in the
newspapers from his famous Aunt Ethel,
who later forgave him. The two plan to ap-
pear together in a picture in the near future.

V (F) Slaughter Trail (RKO)
\ CMEONE who has been listening to

those singing commercials on the radio
had an idea. It wasn’t good. All through
this picture, off stage singing breaks into
the action to interrupt the story and drive
the audience slightly wacky. For instance, a
stagecoach is held up by a band of rob-
bers on Slaughter Trail to the accompani-
ment of off-stage singing. And loud, too.
The heroine arrives at a U. S. Cavalry
Post ¢this is 1882) with the same old
“Hoofbeat Serenade” filling the canyon.
Soldiers take after the robbers (song, song,
song) and Indians take after the soldiers
while the warbling goes right on. Nothing
can stop it. Brian Donlevy, Robert Hutton,
Virginia Grey, Andy Devine and Gig Young
roam around in the melody.
Your Reviewer Says: I likes my _ shootin’
without no singin’, see.

Program Notes: A comical sight, indeed,
was a band of real Navajos trying on wigs
flown from Hollywood. Because these In-
dians no longer wear braids as they did in
’82, false ones were provided ...The troupe

encamped on a two-acre tract in the Santa
Susana mountains, seeking shelter from the
sudden desert sandstorms behind wet burlap
sacking. Despite the spills and tumbles neces-
sary to the plot, Gig Young was the only
casualty. Gig became lame from _ square-
dancing in his high-heeled cowboy boots.

VY (F) Two Tickets to Broadway
(RKO)

HAPPY, talent-laden musical with

beautiful people attempting to crash
television which, heavens knows, is a re-
lief from the old trying-to-make-Broadway
formulas. Tony Martin and his wonderful
voice are surrounded by such lovelies as
Janet Leigh, Gloria de Haven, Barbara
Lawrence and Ann Miller. With Eddie
Bracken as a misguiding agent they even-
tually make the Bob Crosby television show
but the shenanigans that go on before they
hit are plain unvarnished ridiculous. The
famous French acrobatic trio, “The Char-
livels,” and the variety show headliners,
Joe Smith and Charlie Dale, playing
delicatessen owners, provide the zip be-
tween the intervals of romance.
Your Reviewer Says: A lot for your money.
Program Notes: Jule Styne and Leo Robin
wrote the musical numbers ... Janet Leigh,
who sings and dances on the screen for the
first time, rehearsed several months on the
various song-and-dance numbers and _ inci-
dentally swung that baton like a veteran...
Gloria de Haven began her career singing
with Bob Crosby’s band and had many “do-
you-remember” sessions with the famous

band leader.

¥1% (F) Silver City (Paramount)

T’S the silver in them thar’ hills that

prompts the action in this one and never
mind the gold. Story built around the
precious metal has Edmond O’Brien an
outcast in the far West of 1870 for conspir-
ing with robbers to obtain a mine assay.
Word of his one misdeed keeps O’Brien
hopping from one lost job to another until
finally he goes into the assaying business
on his own. To his office come Yvonne De
Carlo and her father Edgar Buchanan
for an assay of the ore from the mine
leased from Barry Fitzgerald. All goes well
until Richard Arlen, who knows first hand
of O’Brien’s misdeed, arrives in town and
upsets the apple-cart in more ways than
one. It’s a sound, well-developed movie
with brawls, fights, murder, exciting chases
and romance keeping the interest high.
Gladys George, Laura Elliot, Michael
Moore, John Dierkes round out the cast.

Your Reviewer Says: All sorts of unusual
outdoor activities.

Program Notes: The lumber town of Tuo-
lumne City had its building fronts “unlifted”
to suit the 1870 period ... Oddly enough, a
gold mine of the Trans-Sierra Company
“stood in” for the silver mine and even in
glowing Technicolor no one knew the dif-
ference ... During the exciting chase scene
the local lumbermen laid off work to stare
goggle-eyed at the daring lads from Holly-
wood who took plenty of chances.

¥V (F) Too Young to Kiss (M-G-M)

ROTHY and a bit light in the head, this

completely unbelievable yarn emerges—
under the expert thespianing of June
Allyson and Van Johnson—quite a charm-
ing bit of entertainment. Naturally no one
believes Van is a concert manager wrang-
ling nasty tempers out of high-priced
artists, nor do they credit for a moment
the fact that June is a concert pianist
passing herself off as a fourteen-year-old
prodigy and dressed like a ten-year-old

brat. However, once convinced we're not
really supposed to swallow this whopper,
a body can relax and enjoy the quite
ridiculous goings-on. Gig Young plays the
reporter who exposes the masquerade.

Your Reviewer Says: Romantic gaiety.

Program Notes: June Allyson reported to
M-G-M and “Too Young to Kiss” for the
first time since the birth of her son. Natural-
ly every spare moment away from the camera
was spent by June on the phone inquiring
for young Richard . . . Van could talk off
nothing but his forthcoming trip to Rome
where a movie awaited him. Evie Johnson
was just as eager, spending many lunch
hours at the studio making plans with her
husband ... Gig Young complained that this
constant losing of the heroine was giving
him a complex. Frances Goodrich and Albert
Hackett, who wrote this story, promised to |
do better by Gig next time.

V1 (F) The Strange Door (U-I) |

HARLES LAUGHTON has himself a ball

acting all over this creepy, corny story. |
And Boris Karloff clanks around as the
kindly disposed guardian of Laughton’s
brother, Paul Cavanagh, imprisoned in a/|
deep dungeon for twenty years because
the girl Laughton loved preferred him. To
further feed his hatred and appease his
revengeful spirit, Charles plans to have
Paul’s daughter, Sally Forrest, wed scala-
wag Richard Stapley, hoping to engulf
his niece in marital unhappiness, but the
plan backfires in Laughton’s pudgy face.

Your Reviewer Says: Hoky with a capital H.

Program Notes: Sally Forrest announced to
one and all that she loved working with two
of the screen’s worst villains and that Mr.
Laughton was a dear and Mr. Karloff a
sweetiepie . . . Sweetiepie Karloff spent his
spare moments on the set reading Keats andl
talking about his prize-winning camellia
bushes ... Mr. Laughton, who has mellowed
after twenty years in Hollywood, listened to
the progress of the New York Giants via his.
dressing room radio . . . Mr. Richard Stap-
ley, the English actor, writes books and
operas between movies and stage plays. _

V1% (F) The Tanks Are Coming —
(Warners)

ANK warfare comes in with a special

spotlight on a lead tank commanded by
Steve Cochran, as Sgt. F. A. Sullivan.
According to the story, he won Worl
War II single-handed when he took com-
mand of a tank crew whose respected
leader had been killed. All through the
push from St. Lo in France to Germany,
Cochran rides his men unmercifully. He
rescues one of them under fire and brin
in a whole platoon of Germans, all ai
the same time. Some guy! And Cochran
plays that way, too. It’s a hard workin
movie all the way. Tanks in action per
forming most realistically. Handsome new
comer Robert Horton, playing Captaiiih |
Horner, looks like a find to us. Paul Picerni
Robert Boon, Eugene Baxter, Ray Hyk
comprise the tank crew with Harry Bel
laver as Lemcheck and James Dobson
Ike providing the lighter moments.

Your Reviewer Says: Rugged!!!

Program Notes: This film is set forth

an authentic dramatization of heroes and
tanks of the famous 3rd Armored (Spear:
head) Division. Most of the shooting took)
place at Fort Knox, Kentucky, armore
training center ... Cochran became so tank
happy he latched onto one of the iron mo
sters when no one was watching and wen
for a joy ride. The cowboy boots Stev

(Continued on page 26)

ANS)

FI RAN KIE and SHELLEY. ...what a dynamite duo

When they get together!
Romance goes wild and Rhythm runs riot!

RAYMOND BURR
Story and Screenplay by DON McGUIRE - Directed by JOSEPH PEVNEY - Produced by LEONARD GOLDSTEIN

25

6 officer.

(Continued from page 24)
wore for his role caused a furor among the
trainees who wanted to wear them, too.
Orders read: “Take them off.”

VV (F) Let’s Make It Legal
(20th Century-Fox)

LAUDETTE COLBERT plays a grand-

mother and looks no more grandmother-
ish than Dietrich. Truth is, we liked
Claudette better in her womanly role of
mother to a selfish daughter and grandma
to a darling baby than we have in a long
time. It’s comedy, of course, with Clau-
dette’s old suitor, Zachary Scott, arriving
on the scene the very day her divorce
from Macdonald Carey becomes final. The
two were once suitors for Claudette’s hand
and after twenty years, as it turns out, they
are still. The characters, unlike the zanies
in most farce-like comedies, are startlingly
lifelike, which makes the story grown-up
and doubly delightful. Robert Wagner as
the son-in-law is a comer, as Photoplay’s
“Choose Your Star” results proved. Bar-
bara Bates, who plays his wife, is a splen-
did young actress.

Your Reviewer Says:
maker.

A real happy -happy

Program Notes: When Claudette took up
her brush and oils one day, the whole cast
gathered ’round to watch, for Miss Colbert
is by far the best amateur painter in Holly-
wood .. . During production Macdonald
Carey bought a house six minutes from the
studio and became a hero to all the kids in
the block, his own included, when he turned
soda jerk in the new kiddies’ bar . .
Zachary Scott spent his spare moments
working out details for his own producing
company, Dix Films, which will operate in
Mexico . . . Robert Wagner has had only
small roles in two pictures before this one,
but Twentieth are so sold on Robert, they
plan to up his rating from now on.

VV (F) The Family Secret
(Columbia)

SERIOUS, tension-building movie, sound

in cast and direction, yet it consumes
too much time in the telling, thereby les-
sening the suspense. John Derek acci-
dentally kills his best friend and refuses to
confess his crime. When an innocent man
(Whit Bissell) is brought to trial for the
murder, John’s father, Lee J. Cobb, de-
fends him. Aware of his son’s guilt, Cobb
determines to free his client, realizing a
new investigation may lead to John’s ap-
prehension. But Bissell suddenly dies and
John is free from future investigation. His
tortured conscience remains with him,
however. Jody Lawrance plays his sweet-
heart, Erin O’Brien-Moore his mother.

Your Reviewer Says: An edge-of-the-seat
movie most of the way.

Program Notes: John Derek hurried home
from the studio each evening in order to
spend an hour with his young son, Russell,
before the baby’s bedtime. John is teaching
the year-old lad to walk. .. . Jody Lawrance
was presented with a new dressing room by
producer Robert Lord during the shooting.
Over its door hung a sign, “Jody’s Joint.
For Being a Good Kid” ... Lee J. Cobb sold
his Beechcraft Bonanza and decided to stay
on the ground for a while. His many movie
offers leave him little time for flying these
days.

VV (F) The Racket (RKO)

OUGH, tough action with a couple of
rugged lads on opposite sides of the
law fighting it out. Robert Mitchum seems
incongruously cast as the fearless police
Robert Ryan is the murdering

hoodlum who comes to grips with Mitch-
um, only to lose at the hands of double-
crossing William Conrad. Lizabeth Scott
plays the night-club canary (I picked up
dis lingo goin’ to de movies, see) in love
with Ryan’s brother, Brett King. The
rather outmoded plot attempts to show
the link between criminals and politicians,
as exposed in the Senate Crime Investiga-
tions Committee in an effort to bring the
gangster film up to date. Somehow the
attempt falls flat but the action leaps along
in high gear. Ray Collins plays a crooked
state’s attorney, William Talman the mur-
dered cop, and Robert Hutton the young
reporter.

Your Reviewer Says: Better reform, boys, or
Kefauver will get you.

Program Notes: Exterior night scenes were
shot on downtown Los Angeles streets and
in suburban Culver City . .. Several near
accidents occurred when stunt men ran a
speeding car into a frame (breakaway) shack.
Flying boards whacked heads right and left
..- The studio hoped the switch casting, with
Mitchum as the honest police captain and
Ryan the law breaker, would startle the audi-
ence. It didn’t. The mistake could be felt
all over the theatre.

VV (F) The Light Touch (M-G-M)
MOOTH as satin, clever as rose-tinted
sin, “The Light Touch” wends its dia-

bolical way along a too lengthy, repetitious

road. A shorter route would have en-
hanced the exciting events that begin with

Stewart Granger stealing a masterpiece

from a European art gallery, making his

way to Tunis, and double-dealing crafty
art dealer George Sanders into half believ-
ing the painting has been destroyed. Pier

Angeli, a young Italian artist, is lured into

copying the stolen masterpiece through

declarations of love by Granger. In this
way he hopes doubly to enrich himself by
selling both the original and the copy. He
even weds Pier in order to convince her
of his sincerity, but alas, treachery back-
tracks. Against some of the best back-
ground music since “The Third Man,”
move Joseph Calleia, Mike Mazurki and
Kurt Kasznar.

Your Reviewer Says: Sophistication in a big,
double dose.

Program Notes: Pier, who was brought to
Hollywood right after her touching perfor-
mance in “Teresa,’ was sent right back to
Italy to make “The Light Touch.” Her next
will be on location in Germany ... This was
Stewart’s first modern role since he was put
under contract to M-G-M. His others: “The
Wild North,’ “Soldiers Three,’ “Scara-
mouche” and “Young Bess” were all period
pieces.

Best Pictures of the Month

Westward the Women
Meet Danny Wilson
I Want You

Best Performances of the Month

Farley Granger, Dana Andrews in
"Tl Want You”
The Women in “Westward the Women”
Pier Angeli, Stewart Granger in
“The Light Touch”

¥1% (F) Ten Tall Men (€olumbia)

HE Riffs and the Roughs meet on the

sands of the Sahara and what goes on is
no tea party, chums. With a sort of tongue-
in-cheek attitude, Burt Lancaster plays a
sergeant in the French Foreign Legion.
With a band of ten men, he attempts to
stall off an Arab attack until reinforce-
ments arrive in the city of Trafa. Kid-
naping the beauteous Arab prineess, played
by Jody Lawrance, on the eve of her wed-
ding, the ten Legionnaires lead the Riffs
a merry chase over the burnimg sands.
Romance between the Prineess and Burt
blooms all over the place despite the arid
locale. Gilbert Roland, George Pobias and
Kieron Moore are among the ten tall ones.
Stephen Bekassy plays the spiteful lieu-
tenant.

Your Reviewer Says: Adventure yeu want?
Adventure you got!

Program Notes: Resplendent with Techni-
color, the Colorado Desert af €alifornia
took on an unaccustomed livetiness when
the “Ten Tall Men” cast and crew moved in
for some sandy action. The eoavpany had
a much better time, however, when they lo-
cated in Palm Springs for twelve days shoot-
ing among the sand dunes nearby ... A
much-needed desert stream was provided by
letting water out of the All Anserican canal
for several miles and then coursing it into
nearby orchards when the water-action was
completed ... Jody Lawrance plays her fourth
leading role in this picture, having previously
played opposite John Derek and Louis Hay-
ward ... Burt Lancaster not only starred in
the film but kept a weather eye out for pro-
duction costs, this being a Norma Preduction,
the company formed by Lancaster and Harold
Hecht.

VV, (F) I Want You (Geldwyn)

NCE in a long while there comes along

a movie that refuses to overglamorize
and romanticize life and gets right down
to the business of everyday honest people
and their problems. This is sueh a movie,
telling of the Greer family with father
Robert Keith, a likable blow-hard of a sort,
doting mother Mildred Dunnogk and their
sons, Dana Andrews and Far! Granger.
The ever-widening world c ict reaches
into their secure life, disrupting their
plans and dreams. How they meet it is
tenderly and realistically set forth in a
connecting series of homey, wnderstand-
able events. Peggy Dow and Dorothy
McGuire round out the excellent cast.
Martin Milner registers as a boy who goes
off to war in spite of the effort of his
father to keep him from being drafted.
Beautifully adult, the picture presents a
sincerity that will be felt and appreciated
by everyone.

Your Reviewer Says: Our recommendation.

Program Notes: Mark Robson, who directed
Peggy Dow in “Bright Victory,” was so im-
pressed by her work that he persuaded Sam
Goldwyn to borrow Peggy for this film and
one other a year under his banner . . . Dana
is completing twelve years under contract
to Goldwyn—longest for any star Sam ever
had . . . Dorothy McGuire’s rehearsals of
“Legend of Lovers,” her new Broadway show,
were postponed so that she might make this
picture. With two new films to her credit
(the other is “Callaway Went Thataway”),
Dorothy feels she can spend the next year
on the stage . . . Sam Goldwyn Jr. read the
original story of “I Want You” in the New
Yorker and persuaded Pop that this was the
kind of movie the audiences would go for.
Mr. Goldwyn Sr., who is writing his biography
now, refuses to answer questions about his
life when he is interviewed. Says Sam, “Buy
a copy of the book and find out for yourself.”

says DEBORAH KERR
co-starring with’ ROBERT TAYLOR
in MGM's Technicolor Production

fou‘ll see Nero and the burning of Rome in ‘Quo Vadis’. And if you know how steam heat parches your skin, you
can imagine how dry mine felt after making that scene. I had to be photographed inches away from live, crackling flames.

- i
And later, ‘my hands were tied’, $Solsoothed my hands, arms and_ It kept them lovely and smooth-
literally, with a harsh rope... face with Jergens Lotion... as-silk for romantic close-ups.

oe

CAN YOUR LOTION
OR HAND CREAM PASS
THIS ‘‘FILM TEST’'?

To soften, a lotion or hand cream
should be absorbed by the upper
layers of the skin. Jergens Lotion
contains quickly-absorbed ingredi-
ents that doctors recommend — no
heavy oils that merely coat the
skin. Proof? Water won't ‘‘bead’’
on a hand smoothed with Jergens
Lotion as with a lotion or hand
cream that leaves a heavy, oily film.

At home, too, Jergens Lotion is Being liquid, Jergens is quickly You can prove it yourself with You‘ll see why Hollywood stars
my head-to-toe beauty secret”... absorbed by thirsty skin... the simple test described above... prefer Jergens Lotion 7-to-1!

Macca.

MARVELOUS, MUSICAL
Mitzi GAYNOR
.. THE GOLDEN Girt HERSELF. .
IN 20th CENTURY- FOX's
HAPPY- HEARTED SHOW ABOUT _
THE GIRL WHO SET AN _
Era AGLow!

TECH

Miz GAYNOR~ Date ROBERTSON = Dens DAY: James BARTON cv

GEORGE JESSEL* LLOYD BACON » WALTER BULLOCK, CHARLES O'NEAL a GLADYS LEHMAN ‘teasisa Boles niueson

I WAS THERE

;
|

EXCLUSIVE pictures
of Judy in her dressing
room and on the old
Palace stage, where her
heart overflowed as she
received baskets of
flowers from all over
the world—including
one from daughter Liza

This was no
personal appearance

of a movie star—

PHOTOGRAPHS BY BEN MANCUSO

this was a

Du NEVER FORGET Judy Garland’s opening at the Palace. Neither will
anyone else who was there. A star-studded audience paid a
six-dollar top to see her. The theatre was completely renovated
for her, hung with priceless paintings and sparkling crystal
chandeliers. And a red velvet carpet was spread from the curb in
front of the theatre right up to the stage.

On stage came eight young men, billed as “Judy’s Boyfriends,”
chanting a little ditty about her. There was a flash of black
velvet behind them and the applause grew and grew into an ovation
that threatened never to stop. But Judy, stepping to the footlights,
shouted the crowd down. Her first number was a medley
especially written for this evening—“Until (Continued on page 71)

great trouper,

giving her all

By BEVERLY LINET

29

Is Mario Lanza
Hollywood's bigsest
~ headache ?

He’s Mr. Big—conceited, ungrateful,
uncooperative. That’s what gossip says. Hedda
faced him with all the charges. She

didn’t pull any punches. Neither did Mario

BY HEDDA HOPPER

Manzo Lanza, so many columns say, “Should change his
favorite song to ‘Be My Lunch’” . . . “Mario Lanza has
sent a script back to producer Pasternak unopened” .. .

’ “Mario Lanza’s head also needs reducing”
“How big can you get?” . .

The “vicious whispering campaign” against Mario—
whispering, my hat, bellowing would be more like it—started
during the production of “The Great Caruso.” It
reached an explosive climax when Mario refused to make
“Because You're Mine” (originally titled, “The Big Cast’)

Mario’s studio accused him of being egotistical,
uncooperative, temperamental and ungrateful. In short:
A headache.

“Mario,” I said over the eee the day he returned
from Oregon, “I hear you're a prize headache.”

“No, Hedda, no,” he shouted. “I’m not, ’'m not. Don’t
believe those horrible things you hear about me.

They’re not true.”

“Mario, don’t you dare try to tell me that you’re

not conceited. Because I know you (Continued on page 68)

MARIO and wife Betty rented Ginger
Rogers’s ranch in Oregon. He returned
to Hollywood thirty pounds lighter!

66
1 STILL fight WHEN Mario was given gold

record of “Be My Love,” he in-
sisted Hedda present it

iS first and think later,” | haw kt a Sa
| grins Mario. His next,
_ “Because You’re Mine”

31

Debra Paget prefers

fun with her family to
sodas with the gang,
movies with her mother
to dates with

a boy. Is she wise?

BY JESSYCA RUSSELL

A STUDIO employee, not long
ago, approached Debra Paget’s
mother—without whom Debra
is never seen—to ask if Mrs.
Paget would mind going to a
premiere that night with another
member of her family. “Debra
should be photographed with
someone else for a change,” he
explained. “Hollywood is be-
ginning to wonder why she’s
never seen with anyone else!”
“Hollywood doesn’t have to
wonder!” interrupted the usually
placid Debra, suddenly appear-
ing on the scene. “My mother
isn’t with me because she wants
it—but because I' want it!”
That evening her mother ac-
companied her.as usual. And
Hollywood hasn’t stopped won-
dering. It isn’t normal for any-
one as young (Debra turned
eighteen last August) and lovely
to prefer her mother’s com-
pany to that of all others. Many
protest that Debra one day is
certain (Continued on page 84)

Debra’s next is “Belles on Their Toes”

b
'
:
st

“MY MOTHER
is always with
me because I

want her!” Right,

with sister Meg

~~ 2

a

“MOM can give
me a lot more
at this time

boy could,”

33

Lines to the lovely ladies

whose lovely lines make them

IRGINIA MAYO

34

MONA FREEMAN

FRAKER

SMITH ANC FINK

W uicu are the favorite curves and curls

In this year’s garden of Pin-up girls?

Well—no one’s taken a Gallup Poll,

And the sum above may be not the whole,

But we have balloted many a man, Sirs,

And here are the four bewitching answers.

It can’t be all in the point of view,

For look at the facts—and the figgers, too!
BY PHYLLIS McGINLEY

FOR FACTS ABOUT THESE FIGURES SEE PAGE 76

35

36

HOLD YOUR MAN

A good man is hard to
find, warns Esther, so don’t stretch your

luck too far with habits you can change

BY RUTH WATERBURY

PHOTOPLAY

COVER GIRL

“a

Ll; I WEREN'T careful,” Esther Williams
says, “I could dangerously neglect my hus-
band because I enjoy being with my
dren so much. After a working day I look
forward to a wonderful moment that’s wait-
ing for me when I get home. Five minutes
after I’m in the house, I throw some bubble=
bath in the tub, toss off my things and then
Benjie, nearly two and a half, fourteen
month-old Kimmie and I all get into our
bath together.

“However, I’m lucky! Ben enjoys the
boys as much as I do. From the start we
knew we wanted a large family and
hope to add more members to it as time
goes on. We advise any couple that wants

:
f

“GLAMOUR alone isn’t enough—it attracts a man but it has
nothing to do with holding him,” insists Esther Williams

rae

/“IF 1 WEREN’T careful,” says Esther, “I could
dangerously neglect my husband—I love my
| children so much.” Above with Ben, Benjie, Kim

fo remain happily married to do the same.
There’s something basically unsound with
just living for yourselves. Ben and I fell
in love at first sight, but we waited two
years before marriage to be absolutely cer-
tain. We wanted to get to know each other
| well and it was important for Ben to know
whether I’d be the right mother for the
children he wanted and of course I wanted
to be certain he’d be the right kind of father.
Thus we began our marriage on a firmer
foundation than it might otherwise have had.

“My marriage is now at that period some
experts call the ‘danger point,’” Esther said.
“Statistics show that the sixth to tenth year
is the common (Continued on page 70)

“GROWN-UP love is the most thrilling,” says
Esther, here with Ben. Her next is “Texas Carnival”

37

rw 4

BABY burped with
pleasure when he saw his /

hotel room—Janie
turned it into a nursery:
Le :

F
| %

38

Geary Steffen crooked a finger
at his baby’s button nose, touched
it gently and said “Boo!”

Over her shoulder, Jane Powell
Steffen gave the two men in her
life an indulgent smile and went
on tidying up her dressing room

at the Chicago thea-

BACKSTAGE BABY “=~

making personal ap-

pearances. Geary crooked his fin-

ger again with the same result.

The baby’s eyes just opened wider.
“Isn’t he ever going to learn to
smile?” Geary wanted to know.

Woman-wisdom of the ages dic-
tated Jane’s reply. “He will. As
soon as he’s old enough.”

Geary’s strong ‘hand cupped
Geary. III’s tiny head and he
ruffled the silken fuzz. Holding a
strand to the light he examined
it closely. “Honey,” he said, “I’m
afraid this kid is going to have
red hair!”

The slight tinge of alarm in his
voice brought the attention he
wanted. Jane crossed the room,

gave his own blond thatch a play-

ful tug and said, “For goodness

sake, silly, the baby’s hair isn’t

red, it’s light brown. Most babies

have hair this color. Just like they

have blue eyes at first.”
“Sure?” he asked.

“Certain,” she replied. “Your

- mother says yours was exactly the

same shade.”

A million young parents have
played the same scene exactly the
same way while getting acquainted

with that (Continued on page 80)

When Janie Powell

‘stayed home.

TO JANE and Geary,
Jane’s tour always
will be a milestone

went-on a personal
appearance tour

nobody—but nobody—

Not even Geary

Steffen III!

BY HELEN BOLSTAD

JANE, who’s in “Baby
Needs Shoes,” wants
five more like Geary!

CARPENTER

SEARLS

SRA era INE

To understand how a nice quiet guy

like Bill can have such an explosive

effect on Hollywood, you have to go back

to the days when he was young Bill Beedle

P\

‘Le MR.DYNAMITE

AGE 4—an eS
impulsive, curi- :
ous, enormously

eager little boy

BY PAULINE SWANSON

But HOo.bEN is a nice unassuming guy.
His family, his friends, his employers and
his co-workers all vouch for this. They
also vouch for the fact that he carries in his
nature a high charge of emotional
dynamite. Such a high charge that it is
indeed fortunate this explosive element is
under firm control.

In the beginning the control was imposed
by Bill’s fond but strict parents. By the
time he was old enough to make his
own rules, it was as much a part of his
nature as his talent and his rugged
good looks.

Bill’s mother, Mrs. Mary Beedle,
remembers the oldest of her three sons as
an impulsive, enormously curious and
eager little boy who, “Could
think up more mischief in a minute than I
could undo in a day.”

When the spirit of adventure was in him,
he’d try anything—a parachute jump,
for instance, with his mother’s umbrella
from the roof of a fifteen-foot

AGE 12—his garage. Nothing but the umbrella was

father’s illness ‘ ; j :

Himiede hn inte the broken in this experiment, so experience

man of the house could not be said to have taught him

caution. Later he tried tight-rope walking

: AGE 21—in on the telephone wires above the street.

“Golden Boy” he __ Responsibility Bill learned the hard

en ase Sousa - way by discovering very early in life

aulet play the that—in the Beedle family, at least—

social lion offstage

41

42

responsibility and self-discipline were
the price of privilege.

When Bill was very young, the family
shared the big, comfortable home in
O’Fallon, Illinois, owned by his grand-
father. And Grandfather’s rights to
privacy and order had to be respected.

Bill’s mother was a schoolteacher. His
father was a serious young chemist,
driving himself at work to establish a
business, needing a calm, quiet house-
hold when he came home from the office
tired. Bill could invite all of his young
friends to play at his house. They could
pitch tents, build tree houses, or play
cops and robbers to their hearts’ con-
tent—if they restricted their games to
the play areas of the big, tree-shaded

BILL AND WIFE
Brenda during one of
Bill’s leaves from the
Army. They agreed that
when the babies ap-
peared, Brenda would
give up her career

MOVIE AUDIENCES
felt impact of the “new”
Bill Holden in “Born
Yesterday,” below, with
Broderick Crawford
and Judy Holliday

PHOTOPLAY Fe acure A

e

TTR

ACTION
2 oe

g

DYNAMITE.

x

yard: and stayed clear of Grandfather’s
rose garden. Bill could make an unholy
shambles of his room if he were willing
to put it back in order.

By the time the family moved to Mon-
rovia, California, when Bill was five,
going on six, he knew enough of give
and take to instruct his year-and-a-half-
old brother, Bob, in the techniques of
getting along in the big, new world they
both were investigating.

Not that, there weren’t occasional
crises.

Mrs. Beedle remembers one eventful
Sunday morning when Bill presented
himself for breakfast in battered blue
jeans and a beat-up shirt and announced
that he was not going to Sunday School.

:

BILL AND BRENDA with her daughter Virginia
by her first marriage, their sons West and Scott
and Bill’s parents, Mr. and Mrs. William Beedle

He had a new bicycle, it was a beautiful
day, and he could see no reason for coop-
ing himself up indoors.

It was open rebellion, for Sunday
School was a Beedle family “must.’”’ But
no battle ensued. All Mrs. Beedle did
was to remind her son calmly of the
inseparable link between privilege and
responsibility. It would be okay to skip
Sunday School if Bill were willing to
give up the movies next Saturday.

He went to Sunday School.

Once, when he was ten, Bill nearly
burst with excitement when Ray Schalk,
the great catcher for the Chicago White
Sox and a family friend, offered to take
Bill out to the (Continued on page 75)

AFTER SMASH HIT in “Sunset Boulevard” with
Gloria Swanson, Bill rebelled at next role offered him,
went on suspension. He’s in “Submarine Command”

43

“ <

Lu TayLor really in love with
Michael Wilding.”

“Liz and Nicky stage romantic
idyll.”

“Liz Taylor and Clift wooing
here.”

These newspaper headlines ap-
peared recently within the same
month—long on sensation and
short on truth. Liz Taylor is not a
little tramp.

Elizabeth returned from Eng-
land to laugh at the Wilding ru-
mors. “I had no flirtations at all in
England,” she told me. “Between

Michael Wilding and me there -

was no romance, I promise you.”
I believe Elizabeth. She is not
Michael Wilding’s type. He likes

more mature, sophisticated ladies,

such as Marlene Dietrich for
whom his devotion was long ap-
parent.

“I worked hard in England,”
Liz went on, “I had to be at the
studio early in the morning. It
took a (Continued on page 85)

IF ELIZABETH HAD been a tough,
more sophisticated miss she would
have handled her life more expertly

€
5
4
k
:

ee

LIZ WAS disturbed
—but not romanti-
cally—by young men
she met in England,
where she made
“Ivanhoe” with

Bob Taylor, above

ri

fags

ROOMMATE Peggy Rutledge went with her
to Washington for Movietime, U.S.A. tour

e headlines

BY ELSA MAXWELL

Elsa doesn’t believe
what she reads—when it’s
about Liz. And attacks
those headlines with

some Taylor-made truths

NICKY HILTON may have done Liz a good
turn when he met her in her New York hotel

When Hollywood Press Photographers

throw a party it’s time to dress up and go!

BOB ARTHUR kept his identity dark for a long
time before anyone guessed he was man behind
the Topsy make-up. Wanda Hendrix is Little Eva

DARKROOM

Wen the lens boys hold their annual
frolic, the stars ransack studio wardrobes
or let their imaginations be their guide—
for costumes that make the Arabian Nights
seem a pallid dream. Outside Ciro’s, on
this night, crowds stargaze blissfully, for
always the big names of Hollywood gather
to make the Press Photographers’ Ball one
Ai a of the most exciting shindigs of the year.

PARTY WAS just full of characters! Steve Cochran and
Yvonne De Carlo called themselves just a couple of beach-
combers. Joining in the conversation is Denise Darcel, right

Se aX
ALL TOGA’D UP for the occasion—plus fetching brow bou- ADDING TO THE pandemonium at the party ,are
quet—is Paul Douglas, masquerading as Antony, the fellow Dean Martin and Jerry Lewis, whose zany antics kept

| 46 who fell for Cleopatra. In this case, Cleo is Jan Sterling guests entertained. Jack Benny was rib-cracking emcee

4 oa aie &
: £ : ‘ a
% eee ae

bs saa -*

“THE KING AND I,” hit Broadway play, was the inspiration for the John Irelands’ cos-
tumes. John the King of Siam, Joanne Dru, his favorite wife, brought along their brood of
\ five to give it a realistic touch. P.S. The kids stayed only long enough to be photographed

resist the music and

STRUTTERS BALL

o ” : sist him when he gave
| _ ’ impromptu dance, right

SHADES OF Barnum
and Bailey! That’s Deb-
bie Reynolds, left, and
Carp Carpenter, who put
on singing-dancing act

te

GENE NELSON couldn’t

”

Above, with

NE

CARY GRANT uses man-to-man approach. With
Norman Taurog on set of “Room For One More

HANDLE
WITH CARE

. husband Gary Merrill on set of “Phone Call from a Stranger”

BY SHEILAH GRAHAM

RP PD PT Dr ote wm
——ee
: ~~ c

the real shooting begins!

When temperamental stars

BETTE DAVIS fought her way through some of her best pictures.
and directors meet—that’s when

director Jean Negulesco

THE WRONG DIALOGUE makes iiedy Lamarr ill. Hedy, here with
director Richard Wallace, Bob Cummings, is in “My Favorite Spy”

ae

| FATE AND MR. ZANUCK Bee aed Grable! But Betty
| chatting with director Henry Koster, has her favorite directors

HIS" MOODS create scenes. Unpredictable Mark Stevens, above
with director William Keighley, is currently in “Reunion in Reno”

Ix 1sw’r Easy to be a hero or heroine to a director. |
If he’s any good at his job, he has to be the boss. |
Which may or may not be why Preston Sturges
is not one of Betty Grable’s favorite directors. |
On the last day of Betty’s last picture with Pres-
ton, she was even determined to outsmart him and
not say goodbye to him. With the help of her hair»
dresser, she snuck out, minus the farewell. But
fate and Mr. Zanuck outsmarted Miss Grable. She
was called back a week later for re-takes.
In a more recent picture, Betty met her Water-
loo. She wanted a certain close-up. The director
ey i disagreed, finally said, “Okay, then we'll have the
WHEN KIRK DOUGLAS Sea listen and like it. camera on your face when you're dancing.” Betty’s
EPove, with ee Howard Hawks on set of “The Big Sky” rosebud lips emitted a forceful word. The director
: jot tossed it right back at her. He says he’ll never
make another picture with her. But I’m sure he
will when Betty asks for him. They happen to make
beautiful pictures together.
When Shelley Winters (Continued on page 72)

49

gm

ey

ri

Janz RUSSELL’S an individualist, and her house
reflects her. Just as you'll probably never see another
Jane Russell, so you'll probably never find another
house exactly like hers—from the fire pit in the living
room to her purple dressing room.

Jane’s house perches, like an eagle’s nest, high among
the hills above the San Fernando Valley. It is designed
so that almost every room makes the most of the
sweeping outlook. Floor-to-ceiling windows bank one
wall of the living room. The master bedroom
features the same breadth of light and air. Even in
the kitchen, windows start at the counter top and extend
the length of the room, into the breakfast room. In
fact, the only rooms which do not command
‘the view are the den and the guest room, which open
onto a small, sheltered patio at the rear of the house.
The site was perfect for Jane and (Continued on page 78)

BY LYLE WHEELER

Art Director, Twentieth Century-Fox Studios

SUNKEN section of
living room, left,
features novel

_ fire pit, built-in sofas.
Vivid red shades top
Chinese war dog lamps

CENTER, stairway to glass
front door. Glass

walls on either side re-
veal gold-leaf-covered

walls in entry hall

FAVORITE spot with
Jane and Bob is
small den, right, be-
hind living room.

Bob keeps his football
trophies here

SKYTOP oe

A fire pit in the living room. A front door made of

|
glass. Red jersey curtains. That’s Jane Russell’s individual

way of creating a home to suit herself

IY ln ect i a a ce nl aN
2 |

|

in the cool,
cool,
cool

BY IDA ZEITLIN

Tix PICTURE flickered out, the lights clicked on and
Jane sat lost in reflection for a while. Then she
whisked up with'an air of decision, “Nah, I don’t
think so. Comedy’s more fun—”

Such was her initial reaction to “The Blue Veil.”
Trying to snare Wyman for the lead, Jerry Wald
had asked her to look at the French version. He had
caught her in the midst of a hilarious romp called
“Here Comes the Groom.” Working with Crosby,
Capra et al. was like drinking vintage champagne—
all zing, sparkle and a heady sense of well-being.
Drama twisted your nerves and left you limp as a
dish clout. Who needed it? (Continued on page 81)

JANE’S private life
is her own. Ask her about
Greg Bautzer and

she'll say, “He’s a nice guy”

N WAY

She could have remained

a wise-cracking

blonde. But Jane Wyman knew
how far a

bright gal can go

“COMEDY’S more fun,” decided
Jane, after “Here Comes the Groom”
with Bing Crosby. But “The Blue . ,

... Veil,” with Cyril Cusack,
above, was a challenge she couldn’t
resist. Jane went dramatic again!

53

Log

2 ' AW ARD a windy day .. . fire and tenderness . . . love song on an Irish

J harp . . . glamour with a tomboy streak

SUSAN n= & Salome dancing to a hurdy gurdy . . . fireworks on

Photograph by Powolny: Susan is in “With a Song in My Heart”

Pt fT ee iz: “fe ee . OE oe

hero

Photograph by Ornitz: Tony is in “The Brigand”

A panther, asleep in the sun . . . romance at a masked ball
... intelligence and intrigue . . . banked fires . . . tango

music on a parlor organ . . . restorer of dreams

Bg
ae
if
:

a
.
1

PHOTOGRAPH BY ENGSTEAD

PHOTOPLA

FOR JUST

Hollywood stars know the first secret
of good dressing is to have clothes fit
. perfectly. For excessive alterations
can spoil the very lines for which you
chose a dress in the first place. With
so many fashions designed and cut
for just your figure type, why take a tuck
—why not get exactly the right
size? Find your size classification,
highlight your best points and be
on your way to being really well dressed

Nancy Davis, left, of M-G-M’s “It’s a
Big Country,” models a flattering coat dress
that’s perfect for the half-size, shorter-
waisted figure. In silk-faced rayon shantung,
it has a tiny, stand-up collar. By
Rite-Fit, 1414-2214, in navy, peacock, red, gray.
Around $9.00 at Wanamaker’s, New York, N. Y.;
Marshall Field, Chicago, Ill.

Alexis Smith, right, of Paramount’s “This Is
Dynamite,” models a rayon ottoman jacket dress
proportioned to fit three heights—
short, medium and tall. In vibrant blue—a
tonic for any wardrobe—or red, gray, champagne,
black. 12-20, sized to height. $17.95 by Mur-
ray White at Crowley’s, Detroit, Mich.; Woodward &
Lothrop, Washington, D.C. Kislav gloves, Kramer pin

DIRONE
For store nearest you write direct to manufacturer listed on page 79

FASHIONS

“YOUR SIZE

Ma eganenciieel i

PHOTOPLAY
FASHION §S

H FOR JUST

YOUR SIZE

Petite Debbie Reynolds of M-G-M’s “Singing
in the Rain” is at her perky best
in a style designed for the girl 5’ 5” and
under. Cute and young looking, this
charming coat dress opens its shiny
buttons to reveal the separate plaid petticoat.
By Annetta, in black cotton only, 10-20
petite. $14.95 at Abraham & Straus, Brooklyn,
N. Y., Maison Blanche, New Orleans, La.

Jan Sterling, right, of Paramount’s “Military
Policeman” reveals the sophisticated charm of a
dress designed for the girl who is 5’ 8” or
over. High-rising midriff minimizes
the line from shoulder to waist. For
glitter effect, a single rhinestone
button on the bodice. For a finishing
touch, a separate bolero jacket. In rustling
paper-finish taffeta shantung, 10-20 tall.
By Betty Briggs, in gray, under $25.00
at Lane Bryant, New York, N. Y.,
Jordan Marsh, Boston, Mass.

For store nearest you write direct to manufacturer listed on page 79

58

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Tingling masculine

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Give him TWOSOME and
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MAX FACTOR

Biennale H OttkL Y WOO D

Donna Reed

models the original dress |

designed by Jean Louis |

for her to wear in |
Columbia’s “Scandal Sheet”

Elegance in soft crepe—a_ dress :
to dream about—and make. :
Flattering to any figure, it can be
made with or without the graceful
side drape. Intriguing shutter
neckline gives a bolero effect when
worn open, as at left—is per-
fect for dressy occasions. Or,. with
the neckline worn high, as above,
it becomes that all-important
basic dress. For dramatic effect,
Teitelbaum’s black fox muff,
Marvella jewelry by Michael Paul

For detailed pattern drawings see page 79

Photoplay Patterns

Box 229, Madison Square Station

New York 10, New York

Enclosed find fifty cents ($.50) for which please
send me the Donna Reed “Scandal Sheet” pattern
#6 in size 10 - 12 - 14 - 16 - 18 - 20.

PHOTOPLAY
PATTERN OF

Name yi isc iu iil ic ote eee Size
THE MONTH Street... i
City ee oe Bee ae Statens eee Age.....

NOTE: For speedy delivery, enclose five
cents extra for special handling.

we

| ENGSTEAD

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63

nnouncing

64

THE 1952 PHOTOPLAY
~SCHOLARSHIP
CONTEST

A second chance to study at Pasadena Playhouse where

the 1951 winner, Virginia McGuire, already is discovering

how great is the prize she won!

BY KATHERINE PEDELL

THIS COULD BE YOU! Radio audiences listened in as Frances Scully interviewed 1951

winner Virginia McGuire, runners-up Joyce McLeod and Rachelle Mendlovitz at famed
Brown Derby. Girls also went on TV, met the press, stars and top studio people —

;

AS PHOTOPLAY’S winner, Virginia
appeared on Jeanne Gray’s TV show
—was given full glamour treatment

|
| THREE FINALISTS of 1951 contest, Rachelle, Joyce, Virginia, on
| steps of Playhouse dormitory where winner Virginia is now living

{|
|

| P rounty, Photoplay announces a second search for undiscov- |
| ered talent. The prize again will be a two-year scholarship
| complete with tuition, room, board, allowance, books and |
_ transportation to the Pasadena Playhouse—the college which |
_ offers its students the most intensive, the most thorough train-
ing of any dramatic school anywhere.

This, the second Photoplay Scholarship Contest, begins in the
_ spotlight of the first search, only recently concluded. Virginia
_ McGuire, 1951 winner from Bridgeport, Conn., is now settled
at the Playhouse, learning how to turn natural ability into bs oe
_ finished performance. Runners-up Rachelle Mendlovitz of siaaee :
| PARAMOUNT casting director
|

New Braunfels, Texas, and Joyce McLeod of Providence, Walliain Meiklejohn Jinter-
Rhode Island, also share the spotlight. (Continued on page 74) viewed Joyce for a screen test

| Photoplay Gives Thanks To...

| @The judges on each audition board
who gave their time and effort. With-
out them this contest could not have
run.

@The radio stations, the colleges, the

community playhouses which offered
the space in which these auditions
were held and who often disrupted
their own schedules to do so.

@The National Thespian Society
which made it possible to find the

| a - a nen above people and places in each com-
vin scree munity.

IN PARAMOUNT COMMISSARY, Joyce and Rachelle met Alan

|

Ladd, other stars. Rachelle is being coached at Paramount for test

that may mean a contract, studio training with other young players [Canc Monee ed, a ae a |

If you want to be

YOU WON’T BE wasting your time
with Webster if you’re the YOU CAN GO to any formal lengths
kind of girl who’s lost for words e if you remember to suit yourself

Iv’s EXAMINATION time!

For ten months now we've been studying charm and personality problems to-
gether in these pages of Photoplay and it’s time, I think, to check our progress.

We've talked a lot about what I like to think of as “Personality Plusses.”

We've said that the charming woman is:

1. Positive—She knows the minute she’s living right now will be gone forever
in sixty seconds, and she makes the most of it.

2. Optimistic—She knows that everybody, including herself, has problems.
But she also knows that the happy thing about a problem is its challenge; that
always you can do something about it.

3. Cooperative—No girl is charming who lives for herself alone.

4. Umselfish—The girl who can put herself in the other fellow’s place makes
friends by being friendly.

5. Self-Confident—Doesn’t mean being conceited, but knowing her worth.

. 6. Self-Controlled—Knowing that temper is self-indulgence, and gossip is as

66 a

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DON’T WORRY ABOUT the circles bs
under your eyes. If you can’t cure e

them—you can camouflage them!

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ruinous to charm as a wart on the end of the nose.

Six plusses—all of which every girl can attain, no matter what her educational
background, no matter what her economic limitations, no matter what.

Add up your score. What is your charm rating?

All This And Beauty Too

You will notice that nowhere on that list is beauty, fashion-wiseness, or any
special talent listed as a charm essential. Appearance is important to charm—
but I'think it is included in my second plus among those problems that the
charming woman will face as a challenge.

I know from letters that most of you readers are deeply concerned about those
things you feel to be beauty defects or figure problems. I want to help you with
those; too, if I can. Once you add those six big plusses to your personality, you
can lick any beauty defect or figure problem, or, if they are unlickable, you
will be able to accept them and live more happily and (Continued on page 74)

BY JOAN CRAWFORD
Star of “That Woman Is Dangerous”

TWO HUNDRED BRUSH strokes a day and
you'll develop more than beautiful hair

67

Is Mario

(Continued from page 31) are. You're no
shrinking violet, my boy. But who wants

' shrinking violets?”

It was agreed that we would get together
at Mario’s huge rented house in Beverly
Hills the following afternoon.

If you have to take off weight, heaven
forbid, there’s certainly no better place in
the world to do it than at Ginger Rogers’
Rogue River Ranch near Medford, Oregon.
Ginger doesn’t usually rent her ranch,
which is her pride and joy, but when Mario
asked her, she relented. With his attrac-
tive wife, Betty, his manager, Sam Weiler,
and his press agent, Jack Keller, he spent
four weeks there. He rode horseback, he
chopped wood, he fished, and he sweated
over woodland trails in a heavy rubber

- reducing suit. When he left Hollywood he

68

weighed 234 pounds. He was down to 204
when he returned. One hundred and nine-
ty pounds is his goal. He swears to me
that he will keep his weight down to this
figure if it kills him.

“Ett. Mario,” I said, after his big effu-
sive Italian hug, “what about this
hassle with your studio? Who’s calling
whom what? As if I didn’t know.”

“Peace has been declared, and peace, it’s
wonderful,” said Mario happily. “We got
together. They admitted their mistakes. I
admitted mine. And now we’re friends.

“Tt was like this, Hedda. When I read
the script of ‘Because You're Mine’ 1
didn’t like it. However, for the records,
when that item appeared in the columns
that I had sent the script back to Joe
Pasternak unopened, I hadn’t even re-
ceived it! I’d never do a rude thing like
that. But eventually I did get it, and when
I read it I knew it was not for me. I just
couldn’t follow ‘Caruso’ with that turkey.
How do I get out of it? I thought. I
racked my brain. I know—I’ll be the male
Judy Garland. The studio took Judy out of
a picture when she became overweight.

“T started eating everything rich, some-
thing I like to do anyway, and soon I had
gone up to 200 pounds. But the studio kept
saying, ‘You look wonderful, we’ll start
the picture next week.’

“Hedda, I looked awful. And I realized
I had figured it all wrong. I couldn’t let
the public see me so fat. And I couldn't
do that picture. I had the nervous jim-
jams. I was moody, irritable. And then my
wonderful wife Betty took charge. She
asked the big boys at the studio, Dore
Schary, Eddie Mannix and Joe Pasternak
to come to our house, one by one, so we
could get to know each other better. The
afternoon Dore came he said he could only
stay a few minutes.

“Took, you goon,’ I said. ‘I want to be
your friend. I like you. I want you to
like me.’ He stayed three hours.

“Dore and I discovered we have much
in common,’ Mario continued. Dore
Schary is his boss now that Louis B. Mayer
has left the studio. “We have the same
background. We were brought up in poor
neighborhoods of big cities and we learned
when we were kids that we had to fight for
everything we got in this world. As kids
our instinct was to fight first and think
later. The only trouble is,” Mario grinned,
“I still fight first and think later.”

It was agreed finally that Mario would
be given eight weeks in which to get into
picture trim and that the script of “Be-
cause You’re Mine” would be re-written.

Mario is on a high protein diet. This is a
real hardship for a fun-loving, food-loving
fellow like Mario. “I made a mistake in
letting myself get so fat,” Mario says with
a sigh. “I’ve made a lot of mistakes—but
things happened so fast. My greatest fault.

Lanza Hollywood's Biggest Headache?

Hedda, is that I do everything too much.”

“That I believe. There’s nothing half-
way about you, Mario.”

Mario believes that much of his bad pub-
licity stems from the boys at the studio
who do not like him.

His trouble with the publicity boys, he
believes, must have started in a Mid-west
city where he was giving a concert. The
studio press agent, 2,000 miles from home
base, imbibed rather freely, and Mario
had to shove him none too gently out of
the auditorium. He returned to the studio
with his knife sharpened.

Mario also got off to a bad start with
others of his fellow workers, when he
promised to sing at the studio party given
by the technicians. He was in the midst
of production of “Toast of New Orleans”
at the time. It was a cold, raw day and
all day Mario had done one take of a
scene which showed him being hauled

- out of the studio tank. By three o’clock his

voice was getting hoarse.

“Look, Joe,’ he said to the producer,
“Tve got to sing at the studio party to-
night. Let me go home and dry out.”

“Tt’s more important that I get a scene
finished than that you sing for the studio
boys,” said Pasternak.

It was arranged with Kathryn Grayson
that she would make a lengthy announce-
ment at the party explaining that Mario
had been dunked all day and was com-
pletely water-logged. But instead, Kath-
ryn merely said, “Mario can’t be here to-
night.” The technicians didn’t like it. Mario
was a snob and a stuffed shirt, they
thought. He could sing at producers’ par-
ties, but he couldn’t sing at theirs.

“Oh-oh,” I said, “so that’s what started
your feud with Kathryn Grayson.”

“No, Hedda, it isn’t true,’ Mario in-
sisted. “Kathryn is one of my wife’s best
friends. I like her very much. And be-
sides, I’m sentimental. Ill always have a
soft spot in my heart for Kathryn because
she was in my first two pictures.”

Actually, Mario hadn’t sung at pro-
ducers’ parties for some time. Though I
can see why the grips and _ technicians
were pretty sore As soon as a studio
signs a player on a term contract they im-
mediately assume that they own him lock,
stock and barrel. Soon after he signed
with Metro, Mario was asked to sing at
eight of Louis B. Mayer’s parties. Mario’s
motto is, “Don’t put it in the living room,
put it on the screen.” But he wanted to
be agreeable. Right away, other producers
and directors started asking him to sing
at their parties.

ll IS real blow-up came one night when
Mario was having some of his good
friends in for one of Mom’s spaghetti din-
ners. The phone rang, and a very promi-
nent Hollywood director insisted that he
come over right away and sing for his
guests.

“IT. too, have guests,’ exploded Mario.
“Why don’t you come over here and amuse
my guests by directing a picture!”

It was thereby decided by many of the
Metro biggies that Mario was uncoopera-
tive and ungrateful.

Last fall, Mario, making his first radio
appearance on my air show, sang “Be My
Love.” That started the avalanche. Over
a million records of “Be My Love” have
been sold since then. On tour Mario wrote
me, “I am eternally grateful to you, Hed-
da.” And. you know, I believe him. When
he was given a gold record for the one-
millionth sale he would allow no one to
present it but myself.

“T read in an article lately,” I said, “that
an Armv buddy of yours, Johnny Silver,

told a magazine writer that when you were
at the air base at Marfa, Texas, you didn’t
take a bath for six months, and you didn’t
change your socks for six months. True
or false?”

“Hedda,” said Mario quietly. “Have you
ever seen anybody who hasn’t taken off
his socks for six months? H’mmm? Id
like to see socks that hold up that well.”

“Tt said in the same article that Johnny
Silver pasted your name on a Frederick
Jagel record, and not a Caruso record,
and played it for Peter Lind Hayes when
he was recruiting soldier talent for an
Army Air Force Show.”

“So help me, Hedda, it was a Caruso
record. And I pasted the label on it.”

Mario is hurt that some of his former
pals have turned against him in print.
Most of them were friends to whom he had
loaned money after he had gotten into the
chips. “I even cooked steaks for them,”
added Betty indignantly. When one of his
former pals was approached by a reporter,
he is supposed to have said, “I wouldn’t
have a thing to say about that son of a
so-and-so.” It could well be this man was
extremely disappointed because Mario
didn’t get him a part in “Caruso.”

“T tried to get a lot of the boys parts in
my films,” said Mario. “But Joe Pasternak
has his own ideas about casting. Why
should these guys turn on me?”

“There’s only one word for it, Mario,”
I said. “Jealousy.”

Our conversation was interrupted by the
appearance of Mario’s two little girls,
Colleen and Elissa, all dressed up in rib-
bons and bows to see Aunt Hedda. They’re
little beauties, with Daddy’s dark limpid
eyes. Mario is simply crazy about them.
He had intended staying in Oregon a
month longer, but he couldn’t bear to be
away from his babies. “Twice a day,” said
Betty, “we’d have to drive the thirty-five
miles to Medford so Mario could call home.”

Mario is especially annoyed with an
item that recently appeared which said,
“Mario Lanza wants out of his contract.
This is very ungrateful of him as Metro
discovered him and made him the big name
he is.” Mario wants it known that he has
never asked to be let out of his contract.
He considers his contract quite fair. How-
ever, he wants it known that Metro didn’t
“discover” him. The concert that Ida Kov-
erman arranged for him at the Hollywood
Bowl was his 76th concert. He had been
pretty well “discovered” before then.

He loves being in pictures, is the first to
admit that they are the backbone of his
great success. Pictures travel all over the
world, and so fast. Through them, he’s
had many concert dates, bigger and better
radio contracts and record contracts. He’s
become so popular that a concert hall can
no longer hold the crowds that want to
hear him. When he goes on tour next
spring or summer, he will sing in stadiums.
Whereas he used to sing perhaps to 2,500
people, now between ten and fifteen thou-
sand people a night fight to get in to hear
that golden voice.

Not only golden, but powerful. A mir-
ror hanging on his living-room wall bears
witness to its power. Mario, waiting for
his lunch, was listening to a recording of
tenor Aurelino Pertile singing “Adriana
Le Coeuvre.” Enthusiastically he started
taking the high notes along with Pertile.
He was holding a “D” when his butler
entered the room. There was a shattering
sound. The mirror cracked from the vibra-
tion of Mario’s high tone. The butler
dropped his tray. “Boss,” he said, “I seen
it with my own eyes.” And I can add that’s
a truthful man. I’ve seen it too.

THE END

LAUGHING
STOCK

BY ERSKINE JOHNSON

(See Erskine Johnson’s “Hollywood Reel”
on your local television station.)

A Hollywood producer had to give one of
his wife’s relatives a studio job. Arriving
at the studio, the relative asked:

“What will my job be?”

The producer thought for a moment and
then said: “It’ll be a sort of public-relations
job. Just don’t make it public that we’re
relations.”

* * *

Shelley Winters plays a hangover scene
in “Meet Danny Wilson” and one of her
lines to Frank Sinatra goes:

“If I could stand the noise I’d kiss you.”

* * *

They’re telling about the actor who
gave the Treasury Department a plan
to stop inflation. The plan: To print his
picture on money so women would never
spend it.

* * *

Actress to her husband: “T’ll meet you
halfway—I'll admit I’m wrong if youll
admit I’m right.”

* * *

Overheard at Mocambo: “She’s either

out to catch a man or a cold.”
* * *

Sign in a San Fernando Valley pet shop:

“Big Sale Of (YOU SHOULD PARDON
THE EXPRESSION) Russian Wolfhounds.”

* * *

A film producer was explaining a big
movie battle scene and said, “We'll have
z).000 savages dash across the plains
and. 2

“Just a minute,” interrupted a writer.

“Ten thousand savages! How we gonna
pay ’em?” “Who’s gonna pay ’em?” snapped
the producer. “We'll use real bullets,”

* * *

A character was hauled into a Hollywood
jail the other morning. When told by the
desk sergeant that he had been brought in
for drinking, the fellow said:

“Okay—let’s get started.”

* * *

An actor fired his imaginative, wild-
dreaming press agent.

The reason: MYTH-representation!

* * *

Lah-de-dah chorus doll looking at Bob
Ryan’s bared chest on a “Best of the
Badmen”’ billboard:

“Who said that there’s a beef rollback?”

* * Eo

Danny Thomas describing a butcher
shop gone Hollywood: “They’ve even got
wedgies on the pigs’ feet.”

* * *

They were discussing the age of a movie
doll in the ladies’ room at Mocambo. Said
one of the ladies:

“She has the face of a woman of thirty,
the allure of a girl of twenty and the
mind of a child of ten. Add them up.”

* * *

Frank Fontaine about a talkative movie
queen: “An echo is the only thing that
ever cheated her out of the last word.”

* * +
Dress Designer Lili overheard it:
“What a charming split skirt. It matches
her split personality.”

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69

(Continued from page 37) breaking point,
the years in which many hundreds start
divorce proceedings. That will-o’-the-wisp
called romance is apt to have almost van-
ished and it is up to the pair to decide
whether they are going to enter into a
more mature relationship. In some mar-
riages, by the sixth year the husband al-
ready is mixed up with another woman,
or the wife with another man. In others,
the wife may feel she has lost her hus-
band’s interest. Or she is bored by him
and wants to seek her so-called ‘ideal.’

“T think the first important thing to de-
cide, if you are even remotely thinking
about a divorce, is this,” she said. “Is it
worthwhile to give up the investment of
slx years spent with one man? And how do
you know that the next man you find
might not have just as many faults and
perhaps some that are a lot worse. Be-
sides, can you honestly say you don’t have
as many flaws in your own make-up as
you think he has in his?

“If you're like I am, I’ll bet you find
yourself on a bad morning thinking of all
the little things your husband does that
annoy you. That’s the time to start con-
centrating on the good things. With Ben
and me, his being such a wonderful father
comes first. I give him twelve stars for
that. Balanced against that, those little
things about him that I can never change.
mean nothing at all.

“The things about ourselves that our
husbands would love to change, we can
go right to work on. Too many girls. take
the easy way out and say—'That’s just
the way I am, I can’t help it.’ But if you
want to have a happy marriage, if you
want to have your love grow into the
kind of maturity that means the most
wonderful adult happiness, you must do
something to help it.

“When I make a distinction between
mature love and romance, it’s because I
believe that love is something you earn
and develop and which, in turn, develops
you and pays you life’s greatest divi-
dends. Each step in marriage has its com-
pensations and to cling to one and not
go on to the next exciting step would be
to remain adolescent.”

We asked Esther if she thought a girl
must be glamorous to hold a man.

“Most experts agree,” Esther said, “that

Hold Your Man

glamour may attract a man but it has very
little to do with holding him. To me one
aspect of glamour means cleanliness. A
girl doesn’t have to be beautiful to be
scrupulously neat. I know Ben appreciates
neatness in me even around the house.
It’s more important for a girl to worry
about how clean her dress is than how
many frills it has on it. If she’s clean and
dresses in good taste—inexpensive though
her costume may be—she has glamour, be-
lieve me.”

OWEVER, Esther thinks there are other
things far more important in a success-
ful marriage than glamour.

“Any man,” she said, “and especially
your husband, the man you see so con-
stantly, will approve if you develop your
sense of humor and the art of being a good
sport. If seeing the funny side of things
doesn’t come naturally, try to develop an
awareness of humor. A marriage without
laughter isn’t as good as it should be.

“If you aren’t feeling well,” she said,
“you naturally want to tell your husband.
But you don’t have to dwell on the sub-
ject. Another thing! I don’t thmk it’s fair
for a wife to spend time acquainting her
husband with all the things that have gone
wrong around the house while he has been
at work. She can only make a bore of her-
self. He’s probably had complications that
day too while earning the family’s living.”

Esther laughed. “I’ve discovered also
that it’s possible to be too charming. One
night not long ago, I’d had a hard day at
the studio. Then I came home and played
with the babies until Ben came home. His
system of making business appointments
in the late afternoon is one of the sweet
adjustments to my career that Ben has
made. When I’m working on a film, I have
only a few moments with the children
before leaving in the morning. And un-
less I have them with me immediately on
my return in the evening, I can’t see them
except when they’re sleeping. Ben, under-
standing this, makes many of his business
appointments between five and seven in
the afternoon, which allows me to have
this time, quite free, to play with the chil-
dren. Then by that time Ben is home for
their bedtime and prayers, the boys are
tucked in and I’m ready for our dinner and
evening together. Usually this routine

STATEMENT OF THE OWNERSHIP, MANAGEMENT, AND CIRCULATION REQUIRED BY THE AC1
OF CONGRESS OF AUGUST 24, 1912, AS AMENDED BY THE ACTS OF MARCH 3, 1933, AND
JULY 2, 1946 (Title 39, United States Code, Section 233) Of PHOTOPLAY. published Monthly at

New York, N. Y., for October 1, 1951.

1. The names and addresses of the publisher, editor, managing editor, and business managers are: Publisher,

Macfadden Publications, Inc., 205 East 42nd St., New York 17,
: i ; Editor, Adele Fletcher, 205 East 42nd St., New York 17, N. Y.;
Secretary-Treas. Meyer Dworkin, 205 East 42nd St.,

East 42nd St., New York 17, N. Y.

N. Y.; Editor-in-Chief, Fred R. Sammis, 205
New York 17, N. Y

2. The owner is: (If owned by a corporation, its name and address must be stated and also immediately
thereunder the names and addresses of stockholders owning or holding 1 percent or more of total amount
of stock. If not owned by a corporation, the names and addresses of the individual owners must be given.
If owned by a partnership or other unincorporated firm, its name and address, as well as that of each
individual member, must be given.) Macfadden Publications, Inc., 205 East 42nd St., New York 17, N. Y.;
Abraham & Co., 120 Broadway, New York 5, N. Y.; King & Co., c/o City Bank Farmers Trust Co., 22
William Street, New York 15, N. Y.; Henry Lieferant, 100 West 55th St., New York 19, N. Y.; (Mrs.)

Elizabeth Machlin, c/o Art Color Printing Co., Dunellen, N. J.; (Mrs.) Margaret Machlin, Beaver Dam
Rd., Stratford, C N ;
heme Somerstown Rd., Ossining N. Y.; O’Neill & Co., P. O

Conn.; Irving S. Manheimer, 1841 Broadway, New York 23, N. Y.; (Mrs.) Ruth B. Man-
Box 28, Wall St. Station, New York 5,

. Y.; Joseph Schultz, 205 East 42nd St., New_York 17, N. Y.; Arnold A. Schwartz, c/o A. A. Whitford,
Inc., 705 Park Ave., Plainfield, N. J.; Charles H. Shattuck, Box 422, Pharr, Texas; Harold A. Wise, R.F.D.
1, Box 159, Onancock, Va.

The known bondholders, mortgagees, and other security holders owning or holding 1 percent or more
of total amount_of bonds, mortgages, or other securities are: (If there are none, so state.) City Bank
Farmers Trust Co., Trustee for Mary Macfadden, 22 William Street, New York 15, N. Y.; (Mrs.) Mary
Macfadden, 406 E. Linden Ave., Englewood, N. J.; Charles Mendel, 720 West End Ave., New York 25,
N. Y.; O'Neill & Co., P.O. Box _28, Wall Street Station, New York 5, N. Y.; Braunda Macfadden St.
Phillip and L. Arthur St. Phillip, Trustees for Braunda Macfadden St. Phillip, 400 Linden Ave., Englewood,
N. J.; Arnold A. Schwartz, c/o A. A. Whitford, Inc., 705 Park Ave., Plainfield, N. J.; Charles H. Shattuck,
Box 422, Pharr, Texas.

4. Paragraphs 2 and 3 include, in cases where the stockholder or security holder appears upon the books
of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom
such trustee is acting; also the statements in the two paragraphs show the affiant’s full knowledge and belief
as to the circumstances and conditions under which stockholders and security holders who do not appear upon
the books of the company as trustees, hold stock and securities in a capacity other than that of
a bona fide owner. y A ies :

5. The average number of copies of each issue of this publication sold or distributed, through the mails
or otherwise. to paid subscribers during the 12 months preceding the date shown above was: (This
information is required from daily, weekly, semiweekly, and triweekly newspapers only.)

Vea Rea events - Glenn ee DWORKIN, Secretary-Treasurer
t subscri ore me this 20t t r, 1951.
Sworn to an (SEAL) 1 ay of Septem TULLIO MUCELLI

Notary Public, State of New York,
Qualified in Bronx County, No. 03-8045500.
Certificates filed in Bronx and New York
County Clerks and Registers Offices.
My commission expires March 30, 1952)

leaves me in a relaxed state. But one par-
ticular night I was still full of bounce. Ben
was discussing our restaurant, The Trails,
telling me its problems. I’d keep popping
up saying: ‘Darling, now I think .. .” and
‘Now, honey, it’s my opinion... .’

“All of a sudden Ben was standing up,
looking down at me. ‘Do me a favor,’ he
said. ‘I love you being so vivacious, but
for once just don’t have an opinion. Don’t
be quite so vital. Let me finish what I’m
saying and then go a little easy. No
jumping to conclusions, please.’

“He was smiling broadly, but we both
knew he was kidding on the square. It
taught me such a lesson,’ she declares.
“In sports, I know how hard I always want
to win, and yet I’ve always known, as any
athlete does, that if you press, you be-
come so tense that it’s almost impossible
to win. That night I really was over-
doing it. Ever since then, I have tried
consciously to relax with Ben. I con-
sciously listen, wait for him to ask my
opinions before volunteering them—and
don’t always have an opinion!

“On that word ‘consciously’ a hold on
a husband often depends. Much more so
than on glamour or sex. Sex between
husband and wife is beautiful, when it is
understood and when it takes its rightful
place. But the conscious uniting of your
mind, your interests and your enthusiasms
and the bond your children bring to you
are twice as important.”

The $64 question, what would Esther do
if Ben fell in love with another woman.

“What a question!” she exclaimed. “I’d
stick to him like glue, I think. Until such
a thing happens you never know, of course.
But I like to think that instead of indulg-
ing in false pride I’d study that other
woman to find out if she offered my hus-
band more than I could. I’d want to know
if it were infatuation or real love that my
husband felt for her. If I became con-
vinced that it was infatuation, a passing
fancy, I’d regard it as a sickness and
stick to my husband just as I would if he
were suffering from pneumonia—and pray
with all my heart that he’d get over it.”

“What about the subject of money?”

“I certainly don’t think,” she said, “that
a wife has a right to be extravagant with
her husband’s hard-earned cash. She
should be aware of how difficult it is for
him to earn money and consider it part
of her job to help save for a secure future.

“Neither Ben nor I are very impressed
by extravagance. We know my career
can’t last forever and that’s one reason
we're so happy that Ben’s business inter-
ests are turning out so well. After I’ve re-
tired from pictures and we have, we hope,
several children growing up, we want to
be able to look forward to a secure future.

“I’ve never needed expensive things in
order to be happy. Because of my work
I have to spend more money on clothes
than I would otherwise. But I’m convinced
a girl can look just as smart and lovely
in an inexpensive, well-thought-out cos-
tume as she can in a number turned out by
a custom designer. I’m also the kind of girl
who thinks nylon makes better lingerie
than all the embroidered silk in China.”

Separations, Esther thinks, are not good.
“Marriage is made up of all the intimate
daily things; the small laughs, small tri-
umphs, even small hardships that a man
and wife share. You don’t share these
moments in the same way when you're
apart. Ben and I try to avoid separations.
If my work takes me out of town for any
length of time, Ben tries to arrange his
business engagements to be with me.

“After all, remember that old saying:
‘A good man is hard to find.’ So, if you
find him—don’t let him go.” THE END

| Was There

(Continued from page 29) You Play the
Palace.” It told about her career. It kidded
the newspapermen who, she was sure,
were going to report that she needed to
lose ninety pounds more. And it waxed
sentimental as she paid homage to the
great names that had preceded her on that
stage, singing their theme songs. Fanny
Brice’s “My Man,” Eva Tanguay’s “I Don’t
Care,’ Sophie Tucker’s “Some of These
Days.” Then Judy sang her songs. “You
Made Me Love You,” “The Trolley Song,”
“For Me and My Gal.” Sometimes she
would stop and wipe her brow with an
orange hankie that matched her crino-
line petticoat. ‘This isn’t very ladylike,
but it’s very necessary,” she would say.
Or, going over to the piano for a glass of
water, “Gotta have some water,” she’d ex-
plain. “You don’t know how hot it is up
here.” She’d come to the footlights with
the pitcher and glass in her hands. “Any-
body want a glass of water?”

HIS was no personal appearance by a

movie star. This was a great trouper giv-
ing her all. For, ever since she was little
Frances Gumm, barnstorming the country
in cheap vaudeville houses, Judy had
wanted to “make the Palace.” But long,
long before she was a star, the famed
theatre had turned into a chain movie
house. Now two-a-day was coming back—
and she was the trail blazer.

For her second appearance she came on
in tights, a shortie jacket and a cocked hat.
“Hallelujah,” she shouted, “Come on, Get
Happy,” her song from “Summer Stock.”

Another change—this time to the tramp
costume for “A Couple of Swells,” her big
number from “Easter Parade.”

It was getting late. But the Garland
spirit was still soaring. She came back
for bow after bow. But everyone knew there
was one more song to be sung. Again Judy
came to the footlights. She took off her bat-
tered hat, sat on the stage apron and sang
“Somewhere Over the Rainbow.” When she
finished, her eyes were moist and the
showfolk in the audience were weeping
unashamed. “I’m not good at making
speeches,” she faltered. “What can I say
except ‘bless you.’” The usherettes came
down the aisles with flowers from all
over the world and, most prized of all,
a basket of roses from Judy’s little girl,
Liza.

Backstage was a madhouse. Photogra-
phers, reporters, friends surged to hug
Judy and kiss her and tell her how won-
derful she was. “Thank you, thank you,”
she repeated again and again. “Are you
coming to my party?” she asked. “You
must come to the party.” Sid Luft gave a
reception for her at the 21 Club. “I!’ll prob-
ably go straight home and collapse, but
you must go to my party.”

At last, breathtaking in a pale blue tulle
gown, she was ready t) leave the theatre.
“Don’t worry,” a publicity man told her.
“We'll get you out through a side door.”

“No, no,” said Judy. “They told me they

_ were waiting ... for six hours. I want to

go out through the front.”

There were at least 5,000 people waiting.
The news of Judy’s triumph had spread
like wildfire. “I’ve been on this beat twenty
years,” said a policeman. “I’m telling you
I’ve never seen anything like it.”

She came out arm in arm with Sid Luft,
surrounded by four policemen. But there
was no disorder. Just the din of thousands
of voices shouting, “Judy! Bravo! Bravo!
Judy!” You could hear the cheers and
applause all the way down Broadway to
42nd Street—drowning out the hum of the
busiest street in the world.

THE END

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72

(Continued from page 49) co-starred with
Frank Sinatra in “Meet Danny Wilson,”
people in the studio held their breath wait-
ing for the battles of temperament. But
Shelley and Frankie fooled everyone.
While they weren’t crazy about each other,
they didn’t fight. But, oh, how Shelley
fought with the director, Joseph Pevney!
She never will again, however. Mr. Pevney
took control of her temperamental temper-
ature, right off the bat. “Hold it!” he
shouted after the first two takes. “Look,”
he said to Shelley, “you’re trying to be
cute. Stop it!” Shelley turned white, but
she stopped it.

I caught another sample of Joe’s tactics
when I mingled with the crowd at Ciro’s.
Shelley, doing a scene with Sinatra, was
supposed to be singing, and Frank, suppos-
edly drunk, was to come into the night club
and ruin her song. Shelley started telling
Pevney how she wanted the scene played.
The director turned to his writer and said
quietly, ‘““Write her out of the scene.” Later,
when Shelley again started to direct the
director, he said again, “Write her out of
the scene.” Shelley, who would rather
die than lose a scene, rushed to her dress-
ing room, locked herself in for twenty
minutes, then came out, sweet and sub-
dued, with “Okay, I'll do it your way.”

HERE are more ways of getting past a

mountain than by climbing it. June Al-
lyson is just as determined to have her own
way as Shelley is, but she approaches her
objective with—shall we say—more intelli-
gence. June has never embarrassed her di-
rector by shouting at him on the set. June
merely goes to her dressing room, crinkles
up her cute little nose, and sits until she
gets her way. P.S. She usually does.

Joan Crawford rarely loses her temper
on the set. She’s too hep for that. But re-
cently, when a top-name director per-
sisted in picking on a small-part woman
player, Joan, who just happened to have a
glass of water in her hand, involuntarily
poured it over the startled man’s head.
Joan immediately apologized. The director
laughed. But he stopped picking on the bit
player.

When Hedy Lamarr doesn’t see eye-to-
eye with her director, she usually falls flat
on her back. In one recent picture, Hedy
actually had her couch right under the
camera! But when she was asked what
was wrong, she never quite knew. “It feels
funny,” she’d say when she felt ill, when
she didn’t like her dialogue.

Not too long ago preparations were made
to go on location. The crew was set,
tickets bought, everything lined up. The
day before the company took off, Miss La-

Handle with Care

marr calmly announced that, according to
her contract, she didn’t have to go on loca-
tion—ever! Sure enough, it was in the
small print. The director had his revenge
later. One Saturday when Hedy planned
a weekend out of town, he ordered her to
come to the studio at four-thirty in the
afternoon to be made up and have her
hair fixed, for a scene presumably. By the
time Hedy was ready, it was too late to
work. “But it ruined her . weekend,”
gloated the normally kind executive.

Stars are sometimes frustrated directors.
Claudette Colbert is one. So is Kirk Doug-
las. Claudette always has a phobia about
one side of her face. And lately when her
director wanted a three-quarter shot of
Claudette’s face, with the other player to
the side of her, Claudette insisted on turn-
ing the other cheek, which meant backing
the other player into the camera. The di-
rector was sarcastic. Claudette rushed
from the set. “But,” the director told me
later, “when the time came to shoot, she
was there waiting, and she laughed and
said, ‘All right, you so-and-so, do it your
way.” Actually it was a compromise,
with something new added—respect.

Mr. Douglas is a very perspicacious per-
former. And if I ever directed him in a
picture, which isn’t likely, ’d consult with
him on the scenes because he knows what’s
what. When directors don’t do this, Kirk,
if he is sure he is right—ups and leaves
the set. The one time he should have and
didn’t, was when he was told to move
aside because he was hiding Walter Bren-
nan in a scene. I’m told Kirk refused to
budge on artistic grounds.

Beautiful blonde Marilyn Monroe is
short on stardem, long on confidence. She
was forty minutes late reporting to the
set one bright summer morning. The di-
rector gave her a wicked tongue-lashing
before the assembled cast and crew. Mar-
ilyn has never offended again. Perhaps
the lesson of punctuality is better learned
at the beginning of your career.

Bette Davis made some of her best pic-
tures with Willie Wyler and Curtis Bern-
hardt. I wouldn’t want to buy her personal
relationship with either man. Curt meg-
aphoned her comeback picture, “Payment
on Demand.” (This was before “All
About Eve” when it was tough going,
career-wise, for Bette.) Because of an ar-
gument over the ending of the picture,
Bette hasn’t spoken to Curt since—even
though the box-office proved Curt right.

Willie Wyler directed Bette in “Jezebel,”
“The Letter” and “The Little Foxes.” After
each picture—a better word would be
“battle’—Bette swears she’ll never do an-
other with Willie. And when Goldwyn

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wanted to harness star and director for
“The Little Foxes,” Bette tried to beg off,
telling Wyler that Tallulah Bankhead was
the only person for the picture.

As you know, Bette did the film, but
throughout the long schedule, she and
Wyler fought like—well you name it.
Willie crowned everything, and was near-
ly crowned himself, by accusing Bette of
imitating. Tallulah! (Later Bette did just
that in “All About Eve.”) Came the day
when Bette saw the finished picture. And
she remarked, “Working with Wyler is
hell. But when you see what comes out on
the screen, it’s heaven.”

I have never known anyone more un-
predictable on the set than Mark Stevens.
One minute, happy, sweet and gentle. The
next, pugnacious, suspicious and definitely
not happy. It was an unhappy idea to
team Mark with director Irving Reis who
is sensitive to the point of complexity.
“Dancing in the Dark” is the picture they
made. And never were two adults more
in the dark. One afternoon, Irving, on a
trigger point of exasperation, pushed Mark.
Then fists flew, with both emerging from
the fracas with bloody noses.

A psychologist told me that Mark’s
feuds and fights are based on his own per-
sonal insecurity. Well, he can’t be worried
too much about dollars and cents. He
voluntarily relinquished a very handsome
contract at Twentieth Century-Fox. It’s
too bad that, since then, the fine A pic-
tures for which he gave up his Fox job,
haven’t materialized.

I always find Joan Fontaine pleasanter
to chat with when her movie star isn’t shin-
ing too brightly. Some of her directors
say the same. Edmund Goulding, who is
charming, especially to his lady directees,
had a swell method of handling Joan dur-
ing their “Constant Nymph” picture. After
each scene, he’d go to everyone on thé set
and whisper, “Tell her how beautiful she
is. Tell her what a wonderful actress she is.
She’s so insecure, you know.”

They call Barbara Stanwyck “Everyone’s
Girl.” She’s certainly one of the best ac-
tresses the town has ever had. But if she
has ever argued with the director during
the making of a picture, I haven’t heard
about it. Her attitude towards her career
was summed up for me by ace-cameraman,
George Folsey. “She puts you on the spot,”
said George. “Stars have to be ready to
work at 9 a.m. Most of them are ten min-
utes late and that’s all right. But I get to
the set at twenty minutes of nine and Bar-
bara is made up and eager to go.”

Barbara loves—and lives for—her work.
She once told me, “When I’m in front of
the camera, an invisible wall separates me
from the world, and I know peace.”

Other delightful guys and dolls from
the director’s eye-and-ear view: William
Holden—very cooperative; Cary Grant,
who, if he has something on his mind about
script or direction, takes the director into
his dressing room and says, “Look, I want
to explain”; Robert Mitchum, a great
worker, who is very gallant to the ac-
tresses, never backs them into the camera;
Betty Hutton, so wound up in her work,
so high strung, but so intelligent about
what she is doing.

In the constant seesaw for position be-
tween stars and directors some stars get
their egos soundly smacked. Sometimes
it is the director who loses and resigns.
Sometimes everything is just peachy from
start to finish. But, except for a few rare
heavenly specimens, this mostly happens
when the lead in the picture is a boy or
girl who hasn’t yet reached the top—or has
reached it and is falling down. :

THE END

GENE NELSON cut a tree to his liking
—planted it on vivid star-trimmed table

VERA-ELLEN’S gay design for Xmas—
greeting card trimmings on wooden tree

MORE HOLIDAY ***

Trimmings

Gene Nelson of “Starlift” used Styro-
foam and a hand saw to make his table
tree. First he cut out two tree outlines,
sawed one in half, then cut round holes
at end of each layer of branches. Into
‘holes, he inserted tree ornaments, held in
with wire. He then fastened two halves
of tree to center of whole piece, with bond
adhesive. Banked with cut-out stars on a
red cloth, it made a festive tree.

Wooden tree used by Vera-Ellen of
“Belle of New York” is easy to make.
Trunk, a 2 x 2, three feet high, is sanded
until round and tapered at the top. Dow-
eling, thrust into holes in trunk, forms
branches. With a coat of green paint,
‘Vera-Ellen’s tree was ready to brighten
her home at Christmas.

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Announcing the 1952 Photoplay Scholarship Contest ;

(Continued from page 65) At the end of
their momentous trip to California, made
at the invitation of Photoplay, they were
interviewed by the casting directors of
Major studios, won themselves’ screen
tests and possible screen careers.

If you want to be an actress, if grease
paint and footlights, first-night audiences
and rising curtains fill your dreams, then
this is your opportunity. Whether you live
in a tiny township or a great metropolis,
the Photoplay Scholarship Contest can
find you through your applications, letters,
voice recordings and pictures. And if,
through these things, your talent becomes
evident, you will be invited to one of the
auditions held in sixty or more cities
across the nation, at which the judges will
be directors from the local radio station,
producers from the community theatre,
drama critics from the local newspaper,
instructors from near-by schools.

“Placing” at the auditions puts you in
the running for the California finals. And
though only three girls are invited to the

(Continued from page 67) attractively with
them. It’s personality that counts, as I
think I can prove to you.

When Joe Kaufman, my producer on
“Sudden Fear,” came home from New York
recently, he phoned me in great excitement.

“Joan,” he said, “I think I’ve found a girl
for Irma.”

“Tell me about her.”

“She’s twenty-one,” he replied, “and she
has the most beautiful posture, the nicest
way of greeting you, the most gracious
way of speaking.”

Not a word about her figure, or the shape
of her nose, or the color of her eyes. Not
even a word about her dramatic training.

She was proud, friendly, gracious. She
had charm. I was certain, from this de-
scription, that she was right for the part.

Paging Noah Webster

Take this business of speech.

How many girls have “a gracious way
of speaking’?

This is terribly important to first—or
fiftieth—impressions, yet most of us are
downright sloppy about it.

Why do so many of us say “Yeah” or
“Nah” or grunt unintelligibly when “Yes,”
“No” or “Maybe” are just as easy and so
much more positive (i.e., charming) ?

Why is it that youngsters especially glom
onto a word like “keen” or “slick” and
work it to death?

My twelve-year-old, Christina, barged
into my dressing room the other day and
said, “Mommie, have you any absorbent
cotton? I want a whole deely of it.”

“What is a deely?” I gasped.

“Oh,” she confessed after a moment, “it’s
just a word ...a word you use for what-
ever you want to say—for a—a deely....”

See how easy it is to get into the habit?

I have a little vocabulary game I play
with myself when I find myself over-
working already tired words, or am un-
able to express an idea as fully and
interestingly as I would like.

I get out my well-worn dictionary.
First I look up the meanings of five words
I’m not quite sure about. Then I practice
using these words—in sentences.

After that, since the dictionary is open
before me, I find five brand new words—
brand new to me, at least—and add these
to my vocabulary. It’s fun.

Try it. You'll be less tongue-tied the

finals, winning the local audition can be
a springboard for furthering your career.
Photoplay notes with pride the Honorable
Award winners who found recognition
at these auditions.

Betty Britz, a North Carolina girl in
Los Angeles for the preliminaries, was later
contacted by a Pasadena Playhouse scout
for a possible part in one of their Com-
munity Theatre Productions. Noel Marie
Mast so impressed the Chicago board, she
was auditioned at the NBC talent bureau,
is being considered for a spot with a local
show at the end of the school year. Nita
Winslow was recommended by New York
audition board judge,actress Judith Evelyn,
to the casting director of CBS. And Eastern
representatives of Twentieth Century-
Fox, who saw Wisconsin’s Nancy Fowlkes,
New York’s Ruth Hartley and Indiana’s
Neva Reece, invited them back for inter-
views, now have a watchful eye on their
progress. Other Honorable Award winners
whese talent Photoplay believes someday
will be recognized are: Jo Anne Henderson

If You Want to Be Charming

next time your gang gets. together.

Glamour—Two Versions

This is the time of year when glamour
comes into its own; when many invitations
read “Formal!”

How formal is “formal”? you’re won-
dering. Long dress or short? Big hair-do,
or the everyday hair-do? What do the
men in our lives really like?

The other night at the formal opening
of “Streetcar Named Desire” I saw both
versions of formal glamour—Patrice Wy-
more arriving on the arm of her handsome
husband, Errol Flynn, was as dramatically
beautiful as a princess in a fairy story.
Her long gown was a Dior original, white
with a pink cummerbund, with ruffles
cascading from the knee into a slight train!

She wore long white gloves and masses
of diamonds (presents from Errol, lucky
girl!) and a white ermine stole.

Her blonde hair was pulled severely
back from the forehead, to cascade at the
nape of the neck into a cluster of curls.

Coming in just behind her was Joan
Evans, with one of her young men. Brushed
and scrubbed, she gleamed with youth and
health, not diamonds. Her only jewels
were modest clip earrings. Her gown, short
and very full, was a simple taffeta with
cap sleeves—its only ornamentation a few
sequined leaves at the neckline.

Joan’s hair, parted in the middle, was
simple and casual, but she was glamorous!
The proud face of her young man said
that in no uncertain terms.

Looks as though “formal” can have as
taany interpretations as you—and your
young man—want to give it.

If You Ask Me

Now for some of your questions.

A reader is concerned about chronic
lines and circles under the eyes.

To know how to advise her, I first would
have to be aware of their cause.

For some people, circles under the eyes
are structural—actually shadows in the
hollows between deep-set eyes and high,
prominent cheekbones.

Make-up, very sparsely and carefully
applied, can minimize those shadows. Use
a somewhat lighter powder base under
the eyes and blend carefully at the line
of the cheekbones. Beware of too much
make-up—it’s worse than none at all.

-just before you pop into bed.

=

: ) *
of Kansas City, Missouri; Martha Morrison
of Detroit, Michigan; Marjorie Margot
Schmitz of Cleveland, Ohio; Petrina
Susanne Williams of Hackensack, N. J.

If you are one of those chosen as a final-
ist, you become a celebrity overnight. You.
are interviewed by the newspapers. Your
picture is on the front page. Photoplay
writes a story about you. And you go off
to California for the finals. There, whether
or not you are the winner, you meet the
press, the casting directors of the Holly-
wood studios, producers and stars. You
make guest appearances on radio, on TV
programs broadcast coast-to-coast.

If you want to study at the Pasadena
Playhouse, if more than anything in the
world you want to be an actress, enroll in
the Photoplay Scholarship Contest. You
need never have acted before an audience.
You need not be beautiful. You need only
talent and the desire to succeed.

Watch for the February Photoplay for
further details.

If your circles are of the “give-away”
variety, from too much food and drink,:
too many late nights, the answer is simple.
Go to bed early for a few nights, and
sleep, sleep, sleep. Try a day of liquid
dieting, too, for your innards’ sake. The
eyes will show it.

Sometimes, little lines about the eyes are
an indication of very dry skin. For this
condition get the richest cream you can!
find, and pat it gently around your eyes

Another follower of this column, yearn-
ing for long, long hair, writes that she has
a problem. Her hair just won’t grow. It’s’
been shoulder length for ten years. |

My advice may frighten her but here
it is: Cut your hair. Removing the dry,
split ends will encourage growth.

Buy two good hairbrushes, and every
night after your shower, lean way over
and brush hard—give your hair at least
two hundred firm, deep sweeps. With a
brush in each hand, use alternating strokes.

There’s an unexpected prize in this rou-
tine, incidentally. This two-hairbrush trick
is the best exercise in the world for a
beginning-to-sag bust line.

“T have a very limited budget for
clothes,” another reader tells me. “I hate
cheap clothes, yet if I splurge all of my
money in one suit and a couple of dresses,
I bore myself and my friends wearing the
same thing always.

I can sympathize with this girl, and I
think she’s smart to choose fewer, better
tLings—more expensive clothes are often
a real economy. They last longer.

That, of course, is part of the complaint.
They last, and last, and “bore me and all
of my friends to death.”

But they needn’t.

I, too, buy “better” dresses and suits—
and in my business I can’t afford to look
the same day after day. So I keep a huge’
drawer full of inexpensive but effective
accessories . . . artificial flowers, costume
jewelry, scarves, belts, collars and cuffs.

I find it a challenge to see how many
ways I can change one good basic dress.

Imagination can be a better wardrobe
stretcher than money.

Do not hesitate to write me about your
charm problems. Send your letters to
Joan Crawford, c/o Photoplay, 321 S. Bev-.
erly Drive, Beverly Hills, Calif. ‘

~

Mr. Dynamite

(Continued “from page 43) training field
to watch a winter training session.

Bill was mad about baseball, and mad

about Ray, and he wanted that day with

the team more than he had ever wanted
anything in his life.

And, in her heart, Mrs. Beedle wanted
it for him. But she couldn’t weaken. For
some time, Bill had been showing definite
signs of being allergic to his school work.
With his standing so questionable, a day’s
absence would be a serious thing.

“But I may never get a chance like this
again,” Bill stormed.

“TI know,” said his mother, sympatheti-
cally. “It’s really too bad.”

“For a minute,’ Mrs. Beedle recalls, “it
looked as though he were going to cry. I
don’t know what I would have done if he
had. Given in, probably. But he just
stood there looking at me, two big tears
_ glistening in his eyes, then he walked over
_ to the phone and called Ray Schalk.”
“Gee, Ray, I’m awful sorry,” she heard
'him say. “I’d give anything to go. But
I’m in a jam at school and I can’t.”

HE control already was operating. And
| Rhe needed it soon enough. For in the
| early thirties the Beedles—along with the
| rest of the country—faced up to the prob-
| lems of the depression. And Bill’s father,
seriously ill of pneumo-silicosis, was bed-
ridden for three years. Mrs. Beedle—with
three small sons by this time, Richard
| having arrived two years after the family
settled in California—had to go back to
jher teaching. Bill, as the oldest, actually
stepped into his father’s shoes in the
household.

i Mrs. Beedle says she should have real-
‘ized then that Bill was destined to be an
jactor. He played out his new role as
though it were a part in a play. Many a
jnight when his mother came wearily home
‘from school, he would seat her at the table
‘like a queen, and, appearing in white
jacket, with a spctless linen towel over his
jarm, proceed to serve her the dinner he
had cooked, as though he weré the major-
domo at the Ritz.

To know these stories about Bill Holden
jas a boy makes it easier to understand the
jrare blend of temperament and _ talent,
modesty and common sense which today
‘sets him apart from most of his Hollywood
/contemporaries.

When Artie Jacobson, head of talent of
Paramount studios, first set eyes on Bill,
ihe was dumfounded by the earnest six-
footer who sat across the desk from him.
| Jacobson’s assistant had “covered” the
performance at the Pasadena Community
Playhouse to scout a young actress.

The assistant had come back raving, not
vabout the girl, but about the “elderly
character actor” who played her father.
The “elderly character actor” by virtue
of wig, beard and grease paint, had been
twenty-year-old Bill Beedle, a Pasadena
Junior College student, making his very
first appearance on any stage.

“Any green kid who can convince me
that he is an old man is an actor,” the
assistant had reported.

| Jacobson offered Bill a chance any other
twenty-year-old of his acquaintance
would have jumped at—a screen test.
“We'll shoot it Saturday,” Jacobson said,
‘provided you can get yourself over here
every day between now and then for some
coaching.”

Quite calmly Bill said that to get to the
studio every day was out of the question.
‘You see, it’s finals week and I can’t skip
lasses.”

) “You mean you’d pass up a chance like
his rather than skip school for a week!”

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76

“I can’t risk flunking out,” the boy said.

Artie threw his head back and laughed.
“I think you’re crazy; I think I’m crazy,
too. But I like you. Let’s do it your way.

A series of coaching sessions for after-
school hours were arranged, and the test
was shot on schedule the following Satur-
day. (In the meantime, Bill passed his
college exams with flying colors.)

However, a producer, who had final say
about hiring new people, looked at Bill’s
test, and yawned. Bill was nothing, he
said. Dull, colorless.

Bill had everything, Jacobson insisted,
he just didn’t throw it at you. It was a
matter of restraint, rare in a kid so young.

At that moment, Mr. Biggest, Y. Frank
Freeman, vice president and studio head of
Paramount, walked into the projection
room, and wondered out loud what the
argument was about. Jacobson filled him
in and re-ran the test.

Freeman lined up with Jacobson and
gave the green light which put Bill Holden
under stock contract—at a _ beginner’s
quick $50 a week.

Not long after this William Perlberg,
about to produce “Golden Boy” at Colum-
bia, was looking for a girl to play the
sister. He ran off a Paramount test of a
starlet. It was Bill Holden’s test, as well.

When Perlberg looked at the test, how-
ever, he telephoned Artie in great excite-
ment. “Who is that boy?” he yelled. Ja-
gobson told him what he knew about his

nd.

“You’ve found our Golden Boy,”
berg told him.

Perl-

Woe gruelling hours daily in a
strange new medium, dividing his nights
between a violin teacher and a_ boxing
coach who were teaching him the special
skills the exacting part demanded, Bill
was an overnight sensation in Hollywood.
But he was too busy and too tired to know
it. He did have time to make cne good and
lasting friend. Hugh McMullan, a grad-
uate of Williams and Oxford and a former
teacher of music and art at Berkshire, was
“Golden Boy’s” dialogue director.

McMullan chose books from his sub-
stantial library for Bill to read, helped him
to an appreciation of music and art. “Made
me,” says Bill, “appreciate many things I
might otherwise have overlooked.”

One of those “things,” although it prob-
ably wouldn’t occur to Bill, was a beauti-
ful young girl whom McMullan had known
as Ardis Ankerson in New York, and who
now—as Brenda Marshall, under contract
to Warner Brothers, was starring in “The
Sea Hawk.”

Bill and McMullan had taken a small
house together in the Hollyweod hills, and
McMullan—seeing that Bill was singular-
ly lacking in girl friends—undertook to fill
that hole in his friend’s life, too.

One after another, pretty girls that Mc-
Mullan knew were invited to the bachelor
diggings for dinner. At some point during
the evening Hugh would look questioning-
ly at Bill, and more often than not be an-
swered with a disinterested shrug of the
shoulders.

It could have been, as McMullan thought,
that Bill was too exhausted from his stren-
uous work at the studio to be interested
in romance. But he wasn’t too exhausted
to go to Artie Jacobson’s Saturday night
badminton parties and play his heart out.

When McMullan first mentioned Ardis
Ankerson, Bill was even more obstinate
than usual,

“T don’t want to meet any married wom-
en with children,” he said. Ardis had sep-
arated from her husband, but, in Bill’s
eyes, she was married.

However, soon after the release of
“Golden Boy,” when Warner Brothers bor-
rowed Bill to co-star with George Raft in

“Invisible Stripes,” Hugh hinted again that
Ardis was a mighty attractive gal and that
Bill just might run into her on the lot.

“Tf you do,” he said, “invite her to din-
ner.’

They did meet. And Bill had found his
“one woman” at last.

Bill and Brenda Marshall—he, and most
of her intimate friends, still call her Ardis
—met in September, 1939, and were mar-
ried twenty-one months later, on July 13,
1941, in Las Vegas, Nevada.

It would have been much sooner except
for the time involved in Ardis’ suit for di-
vorce and custody of her young daughter,
Virginia.

WaEN they finally set a date, Bill was
working. So they decided, since he was to
be allowed no time off, to charter a plane
for a Saturday night flight to Las Vegas.
Bill arranged for the Congregational min-
ister to meet them in his chapel at 10 P.m.,
and made reservations for the bridal suite
and a midnight wedding supper at El
Rancho Vegas.

To get things off to a hectic start, Bill—
and his best man, Brian Donlevy—were
held up for a couple of hours on the set.
When their plane got off the ground, with
the bridegroom still in full make-up, they
ran into bad weather, landing finally,
three hours late, in a muddy emergency
field.

By the time they hiked into town it was
three o’clock in the morning. The minister
had gone to bed. And the hotel had given
away the bridal suite.

At four, the pastor sleepily performed a
ceremony at the foot of a big double bed
in a hotel bedroom. After donning fresh
clothes, the Holdens and the Donlevys felt
gay enough for a champagne breakfast.

An hour later, their pilot suggested that
they’d better head back to Los Angeles if
they wanted to beat the fog to the Pass.

“That,” Bill sighs, “was only the begin-
ning. On Monday I went back to werk.
Ardis moved our things into the new house
we had bought for the honeymoon we
didn’t have.”

On Wednesday, Ardis left for three
weeks’ location in Canada. She returned
on a Friday afternoon to find that Bill had
left Friday morning for location in Carson
City. Bill came back from Carson City ten
days later in an ambulance, and was de-
livered to the Cedars of Lebanon Hospital
for an emergency appendectomy. His bride
visited him there every day and told him
how things were shaping up in the honey-
moon house. On the day before Bill was
to be released, Ardis complained of a pain
in her side.

“Sympathetic pains,” Bill sccffed.

PIN UPS OF 1952.

(SEE PAGES 34 AND 35)

e Virginia Mayo, of ‘She’s Working Her
Way Through College,” is 5’ 41/.””,
weighs 118 pounds; bust 34; waist
24; hips 34

e Ava Gardner, of “Pandora and the
Flying Dutchman,” is 5’ 51/,’’, weighs
118 pounds; bust 37; waist 22; hips
37

e Mona Freeman, of ‘Darling, How Could
You!” is 5’ 334,’”, weighs 110 pounds;
bust 33; waist 23; hips 33

e Monica Lewis, of “The Strip,” is 5’ 3’”,

weighs 110 pounds; bust 36; waist 24;
hips 36

‘But the doctor didn’t think so, and iru:
dled the bride off for her emergence
appendectomy. ih

They had a few quiet weeks after that, 4
convalescing. In January they left for
Washington to attend the President's
Birthday Ball, planning to go on to New
York—where Ardis was committed for
personal appearances—figuring they could
squeeze in a few evenings of seeing the
city together. The United States was at war —
by this time, and Bill knew that the honey-
moon must be now or never—for he had —
decided to enlist.

Meantime Paramount moved up the —
starting date of his final picture to the day —
after the Birthday Ball. Bill flew heme to
work, and Ardis went on to New York
alone.

On April 15th, Bill finished his picture
and on April 17th he enlisted in the Army.

Among the problems which Ardis and
Bill had “settled” in advance during that
year of waiting was the one all career
girls face with the approach of a baby.

When that happened, they agreed Ardis
would retire—devote all of her energies to
her two most important jobs of wife ang
mother. {

.So Brenda Marshall stepped out of filmail
when she was at the peak of her career and
became plain Mrs. Bill Holden, a decision
she says she has never regretted.

When their son was born on November —
17, 1943, Bill flew home from his station in
Texas and chose the baby’s name—_
Peter Westfield Holden, after his brother,
Bob Westfield Beedle, then flying danger-
ous combat missions over Europe.

Bob’s gay letter welcoming his new
namesake was the last word Bill ever
had from him. Only a few weeks later, the
Beedles were notified that their son had
been killed in action.

For the final nine months of his Army
service, Bill was transferred to the Motion
Picture Unit’s west coast post at Culver
City, where he could live with his family.

Those who knew him in the Army say
that he never beefed. He knew that some
actors were faking their way back into
civilian life. He wouldn’t, although he was”
going into debt for the first time in his life,
and it was eating his soul.

He stuck it out to the end, and so re-
turned to a movie business already re-
covered from its former leading-man
shortage. And it was eleven months before
Paramount found a suitable role for his
re-introduction to the public.

The months of inactivity provided a wel-
come rest and a chance to get acquainted
with his family, which had increased early
in 1946 with the arrival of a second son,
Scott Porter. 3

Inevitably, however, scon after Bill
started working again, it became apparent

first blast came from. The
Holden, tne explosive Bill Holden, shook
the screen in~“Union Station.” And in
“Born Yesterday,’ there it was again
dynamite under control.

Moreover, Bill didn’t use his stored- -up
ammunition just in front of the camera.
When—after the smash success of “Born ©
Yesterday,” Columbia proposed to cast Bill
in what he called “a trite old-fashioned
conception of a motion picture,” he said, ~
“No, thanks.”

The studio was aghast. Bill Holden”
didn’t rebel. Bill Holden was a “nice guy.”
Nice and tractable.

But, with time, with Bill quietly going
on suspension rather than make _ that
movie, the Hollywocd producers learned
what the Beedle family had discovered
when Bill was a little boy: not to be
fooled by his pleasant, casual exterior—
that he’s high voltage underneath—Mr.
Dynamite. THE EnD

®» TO REACH THE STARS

Proropiay receives thousands of letters
asking for photographs and addresses of
movie stars. Home addresses cannot be
revealed and Photoplay cannot fill re-
quests for photographs. However, follow-
ing are the addresses of the major motion
picture studios and a list of the stars they
have under contract. If your favorites are
not listed in any contract list, write to
them in care of the studio at which they
made their last picture. For autographed
pictures send twenty-five cents to the star
to cover cost of mailing. Clip out this list
and save it for future reference.

Columbia Pictures, 1438 N. Gower St., Hollywood: Gene
Autry, Smiley Burnette, Broderick Crawford, Joan Davis,
John Derek, Glenn Ford, Barbara Hale, Rita Hayworth,
Judy Holliday, Anthony Dexter, Jody Lawrance, Jack Ma-
honey, Beverly Michaels, Terry Moore, Pat O’Brien, Donna
Reed, Carl Benton Reid, Mickey Rooney, Dolores Sidener,
Charles Starrett, Johnny Stewart, Pat Williams, Aldo Ray.

Goldwyn Studios, 1041 N, Formosa Ave., Los Angeles:
Dana Andrews, Joan Evans, Farley Granger.

Metro-Goldwyn-Mayer, 10202 W. Washington Blyd., Culver
City: Dawn Addams, June Allyson, Richard Anderson, Pier
Angeli, Fred Astaire, Lionel Barrymore, Keefe Brasselle,
Kay Brown, Louis Calhern, William Campbell, Leslie Caron,
Carleton Carpenter, Gower Champion, Marge Champion, Cyd
Charisse, Eileen Christy, Donna Corcoran, Jonathan Cott,
Bruce Cowling, James Craig, Vie Damone, Nancy Davis,
Michael Dugan, Billy Wekstine, Marilyn Erskine, Sally
Forrest, Dan Foster, Clark Gable, Ava Gardner, Greer Garson,
Stewart Granger, Kathryn Grayson, Jean Hagen, John Ho-
diak, Van Johnson, Howard Keel, Gene Kelly, Deborah Kerr,
Fernando Lamas, Mario Lanza, Peter Lawford, Janet Leigh,
Monica Lewis, John Lupton, Marjorie Main, Maria Elena
Marques, Ann Miller, Ricardo: Montalban, George Murphy,
Henry Nakamura, Reginald Owen, Walter Pidgeon, Ezio
Pinza, Jane Powell, William Powell, Paula Raymond, Debbie
Reynolds, Jeff Richards, Red Skelton, Lewis Stone, Barry
Sullivan, Elizabeth Taylor, Robert Taylor,’ Spencer Tracy,
Lana Turner, Vera-Ellen, James Whitmore, Esther Williams,
Keenan Wynn.

Monogram Pictures, 4376 Sunset Drive, Hollywood: Johnny
Mack Brown, Leo Gorcey, Huntz Hall, Florence Marly, Jane
Nigh, Whip Wilson.

Paramount Pictures, 5451 Marathon St., Hollywood: Anna
Maria Alberghetti, Judith Ames, Jean Arthur, Peter D.
Baldwin, William Bendix, Lyle Bettger, Pierre Cressoy, Bing
Crosby, William Demarest, Laura Elliot, Rhonda Fleming,
Joan Fontaine, Mona Freeman, Naney Gates, Paulette God-
dard, Gloria Grahame, Nancy Hale, Virginia Hall, Peter
Hanson, Patricia Ann Harding, William Holden, Bob Hope,
Betty Hutton, Dick Keene, Alan Ladd, Irene Martin, Robert
Merrill, Ray Milland, Michael Moore, Susan Morrow, Mary
Murphy, Nancy Olson, Eleanor Parker, Batbara Rush, Jan
Sterling, Joan Taylor, Alan Young. Under personal contract
to Hal Wallis: Polly Bergen, Corinne Calvet, Wendell Corey,
Don DeFore, Vincent Edwards, Franca Faldini, Charlton
Heston, Burt Lancaster, Jerry Lewis, Marion Marshall, Dean
Martin, Eddie Mayehoff, Lizabeth Scott, Richard Stapley.

RKO Studios, 780 Gower St., Hollywood: Keith Andes, Carla
Balenda, Jack Buetel, Janice Carter, the Charivels, Barbara
Darrow, Brad Dexter, Joan Dixon, George Dolenz, Faith
Domergue, Betsy Drake, Mel Ferrer, Steve Flagg, Jane Greer,
Dee Hartford, Tim Holt, Richard Martin, Charles McGraw,
Colleen Miller, Robert Mitchum, Carole Morton, Mala Powers,
Jane Russell, Robert Ryan, Margaret Sheridan, William
Talman, Mary Jo Tarola, Ursula Thiess, Kenneth Tobey.

Republic Pictures, 4024 N. Radford Ave., N. Hollywood:
Rex Allen, Roy Bareroft, Adrian Booth, Judy Canova, Michael
Chapin, William Ching, Penny Edwards, Kilene Janssen,
Mary Ellen Kay, Allan ‘‘Rocky’’ Lane, Muriel Lawrence,
Adele Mara, Vera Ralston, Estelita Rodriguez, Roy Rogers,
Grant Withers.

Twentieth Century-Fox, 10201 West Pico Blvd., Beverly
Hills: Richard Allen, Merry Anders, Dana Andrews (with
Goldwyn), Ray Andrews, Charlotte Austin, Richard Base-
hart, Lauren Bacall, Barbara Bates, Anne Baxter, Richard
Boone, Cornell Borchers, Scott Brady, Marlon Brando, Jill
Clifford, Valentina Cortesa, Joseph Cotten, Jeanne Crain,
Dan Dailey, Dennis Day, Dannielle Darrieux, Bette Davis,
Joanne Dru, Gloria DeHaven, Henry Fonda, Anne Francis,
Mitzi Gaynor, Betty Grable, Bob Graham, Cary Grant, Billy
Gray, Susan Hayward, June Haver, Craig Hill, Jeffrey
Hunter, Richard Hylton,. Louis Jourdan, Patricia Knox,
William Lundigan, Myrna Loy, Joyce MacKenzie, George
Mathews, Victor Mature, Hugh Marlowe, James Mason, Gary
Merrill, Zero Mostel, Marilyn Monroe, Ava Norring, Pat
Neal, Debra Paget, Walter (Jack) Palance, Gregory Peck,
Jean Peters, Tyrone Power, Micheline Prelle, George Raft,
Michael Rennie, Thelma Ritter, Dale Robertson, George
Sanders, Constance Smith, Helene Stanley, Warren Stevens,
James Stewart, Randy Stuart, Gene Tierney, Robert Wagner,
David Wayne, Clifton Webb, Orson Welles, Oskar Werner,
Helen Westcott, Richard Widmark, Cornel Wilde.

Universal-International, Universal City: Abbott and Costello,
Julia Adams, Ann Blyth, Judith Braun, Susan Cabot, Jeff
Chandler, Anthony Curtis, Peggy Dow, Charles Drake, Yvette
Dugay, Richard Garland, Cindy Garner, Nancy Guild, Joyce
Holden, John Hudson, Rock Hudson, Alice Kelly, Piper
Laurie, Palmer Lee, Richard Long, Stephen MeNally, Bodil
Miller, Audie Murphy, Lori Nelson, Alex Nicol, Hugh
O’Brien, Gigi Perreau, William Regnolds, Beverly Tyler,
Shelley Winters. >

Warner Brothers, 4000 W. Olive Ave., Burbank: Mari Aldon,
Charles Bickford, Humphrey Bogart, Ray Bolger, Eddie
Bracken, Marlon Brando, David Brian, James Cagney, Philip
Carey, Helena Carter, Steve Cochran, Gary Cooper, Horace
Cooper, Joan Crawford, Ginger Crowley, Doris Day, Kirk
Douglas, Betsy Drake, Errol Flynn, Virginia Gibson, Farley
Granger, Cary Grant, Ron Hagerthy, William Holden, Kim
Hunter, Phyllis Kirk, Burt Lancaster, Vivien Leigh, Frank
Lovejoy, Gordon MacRae, Raymond Massey, Virginia Mayo,
Allyn McLerie, Ray Milland, Eve Miller, Dennis Morgan,
Gene Nelson, Lucille Norman, Nancy Olson, Gregory Peck,
Paul Picerni, Ronald Reagan, Ruth Roman, Janice Rule,
S. Z, Sakall, Randolph Scott, Aileen Stanley Jr., Ray Teal,
Phyllis Thaxter, Gene Tierney, Danny Thomas, Lurene Tut-
tle, John Wayne, Richard Webb, Dick Wesson, Jane Wyman,
Patrice Wymore, Gig Young. J

BB onywooa

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CHIN ret sjorororsiarsrcisto ateisioteicioccisicisis cis es SUAMEN saree

la om mmm om a

(Continued from page 51) her husband,
Bob Waterfield, star football player. The
lot’s so high above the road that passers-
by never guess it is there at all. Instead of
leveling the entire pie-shaped lot, they
tucked the house against the slope of the
hill, so that the rear is level with the
ground while the front is second-story
height and built on stilts. Perhaps I
shouldn’t say “stilts,” for the supports are
massive walls, all integral parts of the
basic design. Also they’re arranged so
that Jane and Bob can use this area for
outdoor living. They put a barbecue grill
in the open section of three supports, each
a third of a circular pillar, with space
between the thirds. A bar is built under
the rear of the house, well shaded and
protected. So are the dressing rooms. Un-
orthodox? Yes, but so is Jane!

Swimming in their pool is like swimming
on the edge of the world. It’s at the front
of the lot, and the grapestake fence around
the property curves down to about a
foot in height at the front, so that when
swimming around the pool, you still have
the superb view to enjoy.

It would be nice to be able to say, “You,
too, can have a house like Jane’s and
Bob’s,” but such is not the case. Your
house should fit you and not Jane and Bob
Waterfield. But certainly there are ideas
you can adapt to your own home.

To get the house she wanted, Jane
worked with an architect. Is she pleased
with the results? Well, you can tell when
a person is happy with his home by the
way he discusses it.

“How did the architect know so well
what I wanted?” she said. “He’s Kemper
Nomland Jr., and we went to school to-
gether. I told him my ideas, worked them
in squares, and he gave it design.”

You can’t see much of the house as
you approach up the steep driveway, until
suddenly, there you are by the carport.
It’s under the kitchen, and the entrance
to the house is at the left. Hardwood steps
wind up to the entrance at second story
level. From the ground, however, you
den’t see the entrance, just the plain red-
wood exterior, stained deep brown.

Most homes feature a heavy wooden
slab for a front door, with solid walls on
either side. Usually they’re needed for
privacy, but since the stair-well prevented
a vista into the house, Jane specified glass
fer the front door, and glass walls on
either side. You look right into the house,
but all you see are the gold-leaf-covered
walls of the entry hall, a plant box to the
right; and opaque glass above. As you face

Skytop House

the front door, the living room is com-
pletely concealed by a wall.

One of the primary objections to modern
home designs is that they’re stark and
cold. That isn’t true of Jane’s and Bob’s
house, largely because in the decorating
Jane worked out a theory of her own.

“I wanted a modern house,” she said,
“but I wanted it to look aged, about a
hundred years old. That's why I chose
dark colors, both inside and out. That’s
also the reason for my Chinese pieces:
They’re so simply styled they fit beauti-
fully into a modern setting, yet they have
an ageless quality.”

The living room is almost rectangular,
with the dining area jutting out about
three feet. Green broadfelt carpets the
entire floor, but eventually Jane plans
to use wool chenille in a gray to match
the combed plywood walls. When asked
what the wall color is, Jane laughed.
“That’s ‘pouf’ umber,” she said. “My own
concoction, a combination of raw umber
and burnt umber.”

ANE likes beamed ceilings, but the archi-

tect said no. She persisted, however, and
consequently, free hanging beams cover
the living-room ceiling. They’re about
ten inches thick, and are suspended from
the ceiling with small iron rods. They
carry the brown color of the exterior
into the room, and make a nice pattern
against the gray ceiling.

Guests talk most about the fire pit, op-
posite the windows. It’s a sunken section
of the living room, three steps down; a
modified rectangle, ten feet wide at one
end, six at the other, and about fifteen
feet long. Two sofas fit snugly into the
front and side, their backs level with the
living-room floor. Built-in cabinets sup-
port lamps and offer storage space, and a
plant bex juts into the area between one
of the sofas and the steps. Palos Verdes
stone comprises the entire wall, echoed
by slate on the floor, and focal point of
the area is the five-foot open fireplace,
enclosed by an outside brass fire curtain.

With the built-in sofas, Jane and Bob
felt they should keep furnishings at a
minimum. The fewer tables and chairs
that take up floor space, the more you
have that feeling of lightness and spacious-
ness. All the sofas are upholstered in
gray-beige cotton boucle, and the lounge
chair in brown cotton boucle.

Though the dining area is part of the’

living room, its fioor is about six inches
higher than the living room, and a plant
box divides the two areas, perpendicular

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to the window wall. Following the Chi-
nese motif, Jane’s dining group is of teak-
wood, the seats upholstered in the same
gray-beige used elsewhere.

Such a dramatic outlook needed equally
dramatic framing. Jane chose draperies of
bright red silk jersey.

All aecents in the living room are gold,
in picture frames, in gold wash trim for
the lamp bases, in vases, and dinnerware.
For a change she specified silver, combined
with gray, for the adjoining master bed-
room. Ultimately both spread and head-
board will be of gray velvet. And large
gray cabinets will serve as bedside tables,
the gray finished off with rubbed silver.

From the somberness of the master
bedroom, Jane went violently colorful
in her dressing room. Let rooms that you
occupy only a few minutes at a time be
outrageously gay. Jane’s dressing room
combines purple and pink. é

In a guest room, too, you can be more
extreme in your scheme, because it’s
lived in only for short periods. Here Jane
used royal blue and pink, with accents of
white. The blue’s on the walls. The pink is
on the ceiling, in the cotton shag carpet-
ing, the chenille spreads on the twin beds,
the sill-length raw silk draperies, even on
an old Victorian lamp table.

Whereas everything else in the house
is simple and modern or Chinese, the !
guest bedroom goes in for frou-frou. The ,
Victorian rocking chair, and the lamp E
that stands beside it are in white wicker, 4
the latter styled after a birdcage and 4
filled with dried flowers and pods painted z
pink and white. A little white wicker bird- 5
cage, filled with the same flowers, hangs
next to the chest and the final fillip is
provided by white rococo sconces en the
walls.

Jane’s color schemes are simple, with not
over three colors in one room. One color
dominates, a second is used in the propor-
tion of about one-third and the third
strong color is for accent only. Neither
does she feature a print, but relies instead.
on texture for interest.

The one exception is the den. It stands
in back of the living room and uses the
same massive stonework for a fireplace,
slate for the floor. At the windows, Jane
hung heavy cotton draperies which fea-
ture a red and green pattern on brown
ground. And a second pattern is in the
heavy Navajo rug in black, gray, white
and red. Furnishings are simple, a red
leather chair, a green leather sofa, end
tables, a desk and a television set. One
wall houses Bob’s football trophies, and a
second wall is devoted to books.

What about music? A corner of the mas-
ter bedroom, next to the living room, is
allotted to that. It looks like a large closet.
In it are built-in radio and phonograph,
with shelves for record storage.

When you build a house that’s designed
especially for you, it’s essential that you
consider and make provision for every
aspect of your life. Jane loves to paint
and enjoys many hobbies. There’s a tre-
mendous room off the kitchen, a service ©
room, containing washing machine, dryer
and mangle, with cupboards for mending
and ironing. But it’s also a hobby room for
Jane and Bob. A counter extends around
two sides and over half of one wall is de-
voted to eupboards, closets and drawers.

For Jane and Bob the house is practically
perfect. They can’t think of a thing they
would change. Because they thought ahead,
worked out their ideas on paper and
mulled them over before making them
into actualities, they achieved the results
they wanted. “How happy can you get?”
they ask. And they mean it!

THE END

Ye

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80

(Continued from page 38) amazing crea-
ture, their first-born. Yet here there was
a difference. Up the theatre stair-well
came a bellowed warning, “Haaaaalf hour!”

Jane’s voice was matter of fact but her
eyes turned back for another fond look at
her husband. “Honestly,” she remarked, “I
suppose I’m being foolish but do you
know, I hate to leave the baby for even
the few minutes I’m on stage?”

With a rustle of taffeta, she ran down the
stairs. Geary smoothed out small blankets
and remarked, “There. I guess he’s com-
fortable. This fellow is overdue for a nap.”

But this fellow manifestly had other
ideas. Small clenched fists fought their
way out of the covers. Geary covered him
up again. “Hi, Socker, no fair. You're
supposed to go to sleep.”

The baby continued to demonstrate how
he had earned his first nickname. As fast
as his father could tuck in the blanket he
worked his hands free.

Geary shook his head. “The kid’s got me
licked. He’s used to Janie singing him to
sleep and I’m no Janie.” Then the spark
of an idea kindled. “Say, do you suppose
I could take him into the wings? Id sort
of like to hear Janie myself.”

Spreading out a blanket he folded his
son into a snug cococn and arrived in the
wings just in time to hear Janie confiding
to her audience, “All you mothers have
sung this song at some time or another.
It’s all about a curly-headed baby. But I
don’t want to deceive you. I want you to
know that my baby hasn’t a curl on his
head. All he has now is a light brown
fuzz.”

The enthralled audience gave a happy
sigh. The baby, recognizing Jane’s voice,
turned his head. As she crooned the lulla-
by his eyelids drooped and before she had
taken her last bow, he was sound asleep.

Thus Geary Steffen III, at the age of
two months and one hour, became, on the
stage of the Oriental Theatre in Chicago,
the latest inheritor of an ancient theatrical
tradition of being cradled in a trunk.

Stars just don’t take their small children
on tour any more. When they are on the
road, their offspring are left at home in
charge of a trained nurse.

In the eyes of Janie and Geary, such an
arrangement was strictly no good. Yet
there is no denying that when the question
of a personal appearance tour came up, it
forced into sharp focus a problem which
Geary and Jane share with many cther
young couples: Should Jane choose work
or motherhood as her true career?

Motherhood took precedence over work,
but they’d choose both if they could make
it practical

The roots of their decision went back to
their basic attitude that having children is
an enriching human experience and they
credit Dr. Bill Caldwell, Joan Leslie’s
husband, with crystallizing it.

Geary explains, “Bill’s not only a great
obstetrician, he’s a wise friend. He under-
stands the strong emotional drive which
makes a person a star. He knows that if
you try to bottle up talent, it just ends in
an explosion.”

Geary rigged up a phone system that
ran from the baby’s crib to a loud speaker
at the side of their own bed. They were
able to hear every slightest move that
Socker made. One night Jane put it at
her side of the bed and on the next night
Geary had it beside his pillow. In that
way one was always “on duty” to attend
to changing and feeding and the other
could get a good night’s sleep.

One thing about this system bothered
Janie. When Geary asked the usual morn-
ing question: “How was Socker last

Backstage Baby

night?” she’ often replied. “Oh, he was
sort of fussy.” Or, “He wouldn’t take all
of his bettle.”-

But when it was the other way around
Geary answered heartily: “Everything was
just fine. Just wonderful. Just great. He
didn’t give me a bit of trouble.”

Janie furrowed her brow and brooded
a little about this. Then one morning she
inquired, “How does it happen that I al-
ways seem to get Socker cn his bad nights
while you get all the good ones?”

Geary shrugged in a big way. He said,
“Well, ’m just lucky, I guess. Or maybe
it’s because we boys get along better.
That’s it. Man to man we just seem to
understand each other.” Then he ducked
and ran to avoid the pillow that was flung.

EARY was aware that Jane was getting
restless. Having been in pictures since

she was thirteen years old, the habit of
working was deeply ingrained. On Geary’s
return from work one evening, Jane
greeted him with a solemn face. “I called
today and my picture is being postponed.
Gosh, I don’t know what I’m going to do.
I’ve been shut up in this house for nearly
ten months now, and it’s getting me.”

The next night when he came home,
Jane had further news for him. “My agent,
Paul Small, has an idea. He wants me to
go on a personal appearance tour. What
do you think?”

For an hour they weighed the pros and
cons. Geary settled it by saying, “Let’s
call Bill and find out what he thinks.”

“Tf you feel strong enough, it’s okay,” Bill
decided. “But use your head about it. Get
to bed early. Rest between shows. No
benefits or other outside activity.”

That’s when the commotion really
started in the Steffen household, with
Janie, the actress, in conflict with Janie,
the wife and Janie the mother.

To Geary she wailed, “I’m going to call
the whole thing off unless you can come
with me. I just don’t want to go alcne.”

In a business manner, Geary sat down
and studied her proposed itinerary. He had
insurance matters he could attend to in
Chicago. New York, tco, would fit into his
plans. Buffalo and Cleveland—no. They
worked out a compromise. Where Geary’s
work fitted into the schedule, he’d be

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along. “It’s a good plot,’ he concluded.
“Also I'll be back home part of the time to
help Gladys with the baby.”

Janie gasped, “Why, I can’t leave my
baby! I just got him.”

Geary threw up his hands. “You want
to go on tour, and you den’t want to leave
the baby. Janie, darling, once and for all,
make up your mind.”

Janie did, in a typically feminine way.
“Why den’t I just take the baby along?
Actresses used to do it all the time.”

Applying his usual rule of reason, Bill
Caldwell said, “I don’t see why not. The
kid is perfectly healthy, you’ll give him the
same care on the road that he gets here.”

Not having sung for ten months, Janie
was afraid she was rusty. Her vocal coach,
however, listened to her and beamed. “It’s
just like with Schumann-Heink. Having a
baby has been good for your voice.”

As the packing went into its last flurry,
their friend, Barron Hilton, of the Hilton
hotel family, took over. He made certain
their suite would be exactly right when
they reached the Palmer House in Chicago.

According to plan, Jane and Geary came
on ahead. Gladys and the baby were to fly
in two days later, after Janie was over the
excitement of her opening. 3

Arriving at the hotel, they found a bottle
warmer in the kitchenette, the makings for
formula in the refrigerator. But at the
sight of the crib, Jane grew misty-eyed
and Geary admits he swallowed hard.

“But we didn’t telephone home right
away,” he says. “We knew the baby was
perfectly all right with Gladys. So we
waited twenty-four hours—when we just
couldn’t stand it any longer.”

When Geary III finally did arrive, even
though he was never actually brought
onto the stage, he came close to topping °
his famous mother in popularity. Janie
hadn’t really intended to take him to the
theatre at all, but playing six shows a day
she didn’t have time to return to the hotel
between performances and she just couldn’t
bear being separated from him.

The public, discovering somehow that
the baby was in the dressing room, clam-
ored to see him. They jammed arcund
the stage door in such numbers that Geary
and Jane, fearing Geary III might get hurt
in the crush, had to leave the theatre by a
circuitous route which led into a tunnel,
through the kitchen of a restaurant.

To Jane and Geary their Chicago visit
always will be a milestone as the place
where the baby learned to smile, to flop
over in his crib all by himself, and to crawl.

Jane, modest about his achievements,
protests it isn’t really crawling. Geary
contradicts. “It is, too. I put him on his
tummy, he sticks his feet in the air, and
then when I flatten my hand against them,
he straightens his legs and inches forward.
What do you call that if it isn’t crawling?”

But such memories, treasured as they
are, are overshadowed by the fact that
they found during the personal appear-
ance—with baby—confirmation for the
plan of living they had set for themselves.

“We know now,” says Geary, “that Janie
can continue working as long as she hap-
pens to want to. The only difference is
that when she’s having a’ baby she wen’t
be able to be in a picture.”

Then he grins. “Come to think of it,
maybe that means she’s going to miss quite
a few. This young fellow of ours will face
plenty of competition.”

Janie nodded happily. “He’s going to
have five brothers and sisters. We made
up our minds we would have six children,
even before we were married.”

They’re smart, Janie and Geary—smart
with heart! THE END

)

(Continued from page 53) On the set a
couple of days later Bing strolled over.
“Got your next opus lined up?”

“Tm toying with the idea of ‘The Blue
Veil.’”

“Kid’s clever.

jano at once.”

“Tl probably skip it—’” Her gamin grin
flashed. “This picture’s made me real lazy.”

“Quiet, Emmadel. Rumor has it that I
sweat for my dough. Let’s keep it that
way.”

Time passed, they wrapped the “Groom”
up, and Bing went to the hospital for an
operation. One morning Jane was driving
along, minding her business, when a horn
honked and a voice yelled, “Hey, Emma-
del!” Who but the convalescent Cresby,
riding in unwonted state with a chauffeur
beside him? He poked his head amiably
through the window. “What you doing?”
“Blue Veil.”

“T knew it,” he whooped. “Wyman smells
a great role and unfurls her feathers to
the breeze.”

June called him an idiot, blew him a kiss
and drove on. Behind the Groaner’s kid-
ding, hewever, she recognized truth. On
the surface, Jerry Wald talked her into the
part. “If it flops, we’ll all pick our whistle-
stop. If not, we’ll all take our bow. But
it’s a challenge, so you can’t turn it down.”

Wald is a very persuasive fellow. On the

other hand, Wyman’s a gal who thinks for
herself. Once convinced that a course is
wrong with her, TNT won’t budge her. A
wise monk named Luis Ponce de Leon once
said that life reveals its beauty only if you
act in conformity with your own nature.
‘Shakespeare said it another way: “To thine
‘own self be true—” Jane was following
both when, out of a dozen possibilities,
she gravitated toward the role of Louise
‘Mason.

Plays both ends of the

BeRe's something paradoxical about
her. Years of struggle to reach the star-
crowned pinnacles have left her freshness
undimmed. Longstemmed, sweatered and
skirted, her appearance suggests a fugitive
from Vassar. Cameras can fake plenty.
‘They can’t fake the purity of Johnny Be-
linda’s look. Meeting her casually, you’d
‘call her uncomplicated. She’s anything
but. Beneath the animation, the humor,
the friendliness, lie depths of reserve. You
can go so far and don’t cross the line. She
eones to herself. It’s a self that admits
few intimates but loves humanity with
a steadfast sense of responsibility. This
feeling demands release and finds it in the
kind of pictures she makes.

“We're put into this world, nobody
knows why. Sometimes I don’t like it.
Sometimes I’d rather be in heaven or else-
where. Meanwhile, I’m here for a certain
span of years. Nothing adds up for me ex-
cept how much good you can be to how
many people during that span. Without a
Zoal you don’t live, you drift. I’ve set my-
self quite a few. This is the only one that’s
2ver made sense.”

She’s traveled a long way from her early
Z0als. In a picture headed by Joan Blon-
lell and Dick Powell, they gave her the
»verwhimsical name of Bessie Fumffknick,
ind a line to speak. And if you think she
lidn’t go billowing through space that day,

Actually, the line was as silly as the
lame. “What do you do?” Dick Powell
isked her meaning in the dance way. “I
wim, ride dive, imitate wild birds and
lay the trombone—”

Having delivered herself triumphantly
if this masterpiece, she withdrew to rest
n her laurels and watch the principals,

In the Cool, Cool, Cool Wyman Way

and presently found herself in a state of
shock. Blendell, it appeared, was dissatis-
fied with something. Not only that, she
was saying so out loud. Fumffknick turned
big brown eyes to the hairdresser beside
her. “How,” she breathed, “can anyone not
like a part?” The other’s dry glance swept
her: “Keep your hair on, kid. If you're
lucky, you'll learn.”

She was lucky. She achieved her first
goal—a part—and cherished it like a moth-
er because it was hers. That phase passed,
as naiveté wore off, and she learned what
the hairdresser meant. Keep on taking
any old part, and you’re sunk.

A few years ago Jane, like a fly in amber, |’
was imprisoned in light comedy. If she
hadn’t been Wyman, she might have gone
on forever, making a good thing out of
wisecracking dames. But the mold stifled
her and, come victory or defeat, she’d have
to break out of it. Her break happened to
come through Brackett and Wilder who,
more perceptive than others, plucked her
out of the groove to play Helen in “The
Lost Weekend.” Helen led to “The Year-
ling” which led to “Johnny Belinda.” In
the light of that radiant performance, one
tends to lose sight of the courage, vision,
faith and plain backbreaking toil demanded
not only of Jane, but of those who helped
and encouraged along the way. Time was
when the hint of Wyman in such a role
would have stamped you a candidate for
the loonybin—except with the few who
could see beyond their noses.

Where “Jchnny Belinda” opened fresh
paths of understanding toward the voice-
less, “The Blue Veil” promised to do the
same for the aged. Jane felt she could
handle the young Louise Mason. What
dogged her days and haunted her nights
was Louise at seventy. If you’ve never
been old, how do you feel your way into
an aging body? For make-up, she had
Pere Westmore—than whom, like Dinah,
there’s nobody finer. But make-up was
only the top. This woman had to be old
from the inside, or she’d be nothing.

“You’ve got a puzzle on your face,”

' Charles Laughton said one day.

She looked up at him—the finished ac-
tor, the kindly human. Impulsively she
asked: “Mind if I talk to you about it?”

“Talk away.”

“T have to know why old people walk
the way they do. What happens to their
minds and nerves and muscles? Why do
their hands move more slowly? What
makes them unsure of their steps? Will I

find the answers in anatomy _ books,
Charlie?” i
“Some of them, yes—and others—” he

tapped her temple, “—here. The books I
have. [ll mark them and bring them in
tomorrow.”

He worked in the picture for only ten
days, but Jane’s voice glows with thanks
that he worked in it at all. “From this
man whom I’d never met before I learned
more in ten days than I could have learned
in ten years knocking my own blundering
head against walls. He made me feel old.”

Well, “The Blue Veil” is in release now,
and nobody’s-going to have to pick any
whistlestops. For Wyman, there’s talk of
another Oscar. However that may turn
out, her goal is achieved. She’s made a
picture worth making by her standards.

After “Starlift” she goes into “Mr. Fa-
mous” with Crosby again. Because she
loves working with Bing, because laugh-
ter’s also important, because you need a
change of pace. “Anyway, I do. I’d rather
live like a roller-coaster than a suburban
train. It may not be as safe, but if one
curve swoops you down, the next one lifts
you higher than a church steeple. You’re

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you're alive.”

This yen for experiment helped dynamic
Jane to her spet in the Hollywood sun.
At the moment it seems to have helped
her to a whole new career, which started
with an improbable call from Bing. “Care
to make Cool on a record with me?”

“Sure. Let’s swim the Channel together
next Christmas too.”

“Look, junicr, there’s cabbage involved.
Would Everett let me kid you about cab-
bage?”

Finally convinced that it wasn’t the gag-
of-the-month, she joined Mr. Music on the
appointed day, had herself a ball kicking
the song around, and drove home chuck-
ling. “That’ll fix Crosby. There’s one:
he’ll never make a dime on.”

So she and Maureen were lolling round
the pool when the phone rang. “This is
Johnny Grant—” Johnny Grant’s a pop-
ular dise jockey. “Like to hear your
record?”

Her mind was a thousand miles away.
“What record?”

“The one you did with Crosby—”

Jane’s yelp cut him short. “Play, maes-
tro, play—”

“Okay. Hang up and turn on your
radio—”

If the effect tickled Jane, it electrified
her daughter who’s as full of ideas as an
egg of meat. She loped for the phone. “Is
this Johnny Grant? I just heard the most
divine song on your program. With Jane
WYMAN and Crosby. I can’t remember
the name. (She knew it better than her
own.) Oh Mr. Grant, would you mind
playing it again? It’s simply delish—” She
then called sixteen friends in rapid succes-
sion. All afternoon Johnny Grant’s phone
and head buzzed with girlish voices, plead-
ing for “This terrific number I just hap-
pened to catch. Jane Wyman sounded so
cute.”

You can’t tell Maureen and her clique
that they didn’t have something to do with
zooming “Cool” into the Hit Parade, though
they’re willing to credit Crosby with an
assist. Meanwhile Jane’s disbelieving ears
flapped to another siren call from Decca.
““Cool’s’ been such a smash, we'd like
you to make two more sides with Durante,
Groucho Marx and Danny Kaye.”

Her first kindly impulse was to tell them
they’d lost their minds. Her next was to
let them find out for themselves. “I’m
game if you are. My showerbath’s taken
the drubbing up to now. Let’s try it on
wax.”

They waxed “How Do You Do and
Shake Hands” from “Alice in Wonder-
land” with “Black Strap Molasses” on the
reverse. It sold like mad, “Slack Strap”
being the side most buyers asked for. At
Decca they kept turning the needle back
to four lines warbled by Jane.

Muh grandpa’s older than the old gray

mare,

He sits a-rockin’ in his rockin’ chair,

Put your best

But now he’s got a smile that he can’t

lose,

Grandma’s sittin’ knittin’ baby shoes—
Obviously it wasn’t the lyrics that fascin-
ated them. The voice, they concluded, had
a terchy quality worth looking into. Jane’s
next stint for Decca will be strictly on her
own, except for a background chorus.

She’s gleeful as a kid about the whole
deal. Sails into shops and asks brazenly
for her latest record. Even enjoys being
squelched, as when the girl said: “You
mean with Durante, Marx and Danny
Kaye—?”

“I’m sorry about the billing,” replied
Jane meekly.

She’s sorry about nothing. “It’s giving
me the biggest boot of my life. Even more
than movies in a way, and here’s why.
Movies I love, but they’re work. Singing
I love, and the way I sing isn’t any work
at all. You open your mouth and out
comes something, and if the people don’t
mind, why the heck should I? It’s that
much added to the gaiety of life, and I’m
no girl to look a gift blessing in the teeth.”

The gold statuette reacts dismally on
some players, flopping them flat on their
dignity while they wait for another script
from heaven to hit them, and often fade
away in the process. Figure Bergman or
De Havilland, for example, chirping away
about Grandma’s baby shoes. Wyman’s a
horse of a different color. Her humor,
zest and endless curiosity keep her lively
as an ocean breeze.

HIS is a far cry from the Jane of another

day whose whole course was charted, and
who felt that all major problems could be
solved by the four walls of a house. Be-
cause furniture seemed the symbol of
security, she amassed furniture. Her fa-
vorite indoor sport was shoving it around
or polishing it speckless for the sheer joy
of owning it. New she knows that security
bears no relation to breakfronts, and can
shine more steadily from the eyes of a
wayside tramp than from those of a rajah.
Possessions don’t mean a thing to Jane
any more, unless it’s a pain in the neck.
Her big house is up for sale.

She bought it for the sake of its four
bedrooms, which she needed. Three living
rooms she didn’t need, but they came with
the place and she couldn’t figure how to
send a couple back on credit. As the kids
went off to school, Jane found herself rat-
tling around like a penny in an outsize
piggy-bank. One day she addressed her-
self to Carrie, the housekeeper who’s been
with her for years. They call each other
Ma, and probably nothing but death could
part them. “Ma, know what I’d like? A
place you could take care of alone, with
somebody in to do the laundry.”

“Now you're talking, Ma. When do we

0?”

“Let’s see what the kids think.”

Maureen, a firecracker for enthusiasm,
premptly sat down to design herself a

foot forward .. .

and mail in the names of

Your favorite actor
If you want to see them i

Send to:

READERS’ POLL EDITOR, Box 1374, Grand Central Sta., N. Y. 17, N. Y.

My name

Your favorite actress

n PHOTOPLAY’S color pages

dream bedroom. Michael had one reserva-

be
s

tion. “Where am I going to stick my ten-
nis racket?”

“In the garage.”

“T can’t look at it there.”

“You can look at it every night and
every morning, and it'll be nice company
for the car.” ‘

Mike’s a car-lover. “Okay,” he agreed.
With all hands satisfied, Jane put her
house on the market and felt a rush of
freedom to the head.

To Maureen and Michael, their mother’s
a friend. To her, they’re a source of delight,
amusement and occasional confusion.

At eleven, Maureen’s as tall as her
mother—a development that sent her into |
swirls of ecstasy. Jane found this flatter-
ing, if a trifle excessive, till Maureen spun
down and came to a starry-eyed halt.
“Just think, Mother. I can wear your
clothes now.” In search of her best sweat- |
er, Jane’s likely to locate it on her daugh-—
ter’s back.

She makes it a rule to arrange working
schedules so that her free time coincides
with summer vacations and she can give
the children all her attention. Tennis
with Maureen in the morning, pingpong
with Mike after lunch, and such evening
galas as the Ice Follies or ballet at the
Bowl. Conversation spicing everything,
and ranging from idle chatter to what
Maureen calls'a “real heart-to-heart—” |
Warm afternoons bring a flock of bright-.
suited youngsters—Maureen’s gang—to|
cavort in the pool, listen to records and
lap ice cream cones.

You’ve often heard that the children of}
movie stars are spoiled, blasé and over-.
sophisticated. This is as true as most gen-_
eralizations. Some are, some aren’t and,|
as with the children of bankers or boiler-_
makers, the difference depends on train- |
ing. There’s nothing remotely blasé about
these two. Maureen, for example, reacts,
to movie stars like the eleven-year-old
in your own house. Plasters her room with!
profiles till the walls are all thumbtack.
holes and, when Betty Hutton drops in to
see her mother, asks shyly, “Please, may I
have your autograph?”

Jane never permitted Maureen to see
“Johnny Belinda.” Comedy, yes, but
drama, no, she decreed. “We’d both had
all we could take with ‘The Yearling.’
My child wouldn’t speak to me for two
weeks because I killed the deer.”

But “The Blue Veil” came along and
Maureen was older and the premiere
would be something for that rabid fan to!
remember. “How would you like to go?”
asked Jane superfluously.

Her daughter’s delirium was broken by!
a wail from her son. “You never take me
any place.”

“Darling, you know that’s not true, but
I certainly can’t take you to this when
you’re not even seven. Besides, youre
going to the ranch, you'll ride your goat.”

No soap. Burrowing his head in her lap,

aa

fused to be comforted till he came up
with streaming eyes and his own solution.
“Tf I don’t get to see the Beil— (his “V’s”
are uncertain), you’re going to have to
take me to ‘The Groom Went.’ ”

Jane needed to see “The Groom Went”
like she needed forty-eight heads, but
fair’s fair. Michael escorted his mother to

a matinee and emerged with a sense of

masculine superiority. “You won’t like
the Beil at all,” he informed Maureen. “In
the Beil, Mommy doesn’t sit on the other
lady’s stomach.”

7 Hollywood at large, the premiere of
4 “The Blue Veil” was Wyman’s night. Jane,
between mirth and tenderness, knew that
Maureen was the true fairy princess,
treading glory, untouched by the realities
of the grown-up’ world. Dressed like her
mother in black velvet, she stepped out of
the car into storybook land—lights pop-
ping, fans yelling, beautiful movie stars
_ in beautiful clothes smiling and saying
hello to her.

But the evening’s most glamorous event
was the picture itself. It sucked her in and
drowned her, so that presently a sob shat-
tered the silence—loud, gusty and issuing
/ unmistakably from a child in black velvet
| sitting beside the star.

“Maureen—” Another sob. “Holy cow!”
thought Jane, and shook her cut of her
trance. “Stop crying, Maureen.”

“But, Mother, it’s so sad—”

“The saddest is yet to come. Especially
if you don’t hang on to yourself,”

By fadeout time, Maureen was a limp
and happy mass of tears. By some alchemy
she also managed to translate herself into
queen for the evening, welcoming Jane’s
friends as they dropped in later, accepting
congratulations for her mother. Next
morning Jane heard her on the phone with
/a chum. “Well, of course I saw ‘The Blue
Veil’ three handkerchiefs, sopping
wet, don’t miss it. .. My mother? Well, I
want you to know she was sitting right
next to me, and she wasn’t moved at all.

(Continued from page 6) green; hair—
brown. Disposition: friendly. Intentions:
honcrable unless overwhelmingly tempted
Beef: the female of the species.

Not long. ago I was invited to attend the
wedding of a buddy of mine. I received
my invitation the customary three weeks
in advance, and promptly began to cull
my little black address book for the name
of some girl whom I might take. I thought,
calculated, and figured. I discarded every
Name in the book for one reason: Any
girl I took to a wedding would take it
that I was getting serious about her. I
wound up taking another buddy of mine;
afterwards we had two highballs at a
pretty nice club and followed this with
hot cakes, coffee, and conversation until
dawn.

Okay, so I sound like a jerk. Lady, I

What Should | Do?

I don’t believe my mother understands
drama—” :

In today’s world no one can be at peace.
-You can, however, set your own house in
order. Through her children, her work,
her grasp on essential values, her sense of
profound oneness with mankind, Jane’s
achieved that inward balance which makes
for serenity. But she differs from the
weman-in the story who, asked for the
secret of her happiness, said: “Ah done
quit strivin’.” So long as there’s room for
grcwth—meaning while life and strength
remain—Jane will go on strivin.’

From an editor’s viewpoint, no story’s
complete without a touch of romance.
Jane thinks that’s too bad. Everything
she put into her work, which is plenty,
belengs to the public. The rest belongs to
herself. Trying to poach on her reserves
will get you nowhere. It’s an open secret,
for instance, that she dates Greg Bautzer.
Ask her about him, and she'll say, “He’s
a nice guy—” Then the air goes dead.

Yet she doesn’t hesitate to report a re-
cent proposal. The gentleman entered her
bedroom and laid it cn the line. “Mom,
will you marry me—?” E

A fine time, she groaned to herself, with
one eye open, to explain to your son that
he can’t marry his mother. Lifting her-
self on an elbow, she made the attempt.
“Someday you'll meet a nice little girl
and bring her home and say, ‘Mom, this is
the girl I want to marry.”

Mike would have no part of this. Brood-
ing, he wandered down to Carrie. “I
asked Mom to marry me and she won't.”

Since Carrie had both eyes open, she
went into the situaticn more thoroughly,
with no marked effect on the young suitor’s
spirits. Then another idea popped, and he
brightened. “Well, if Mom won't marry
me, I guess I’ll just have to marry my
goat.”

with that romantic angle we trust we
leave our readers happy. Anyway, it’s the
only one we could get.

THe Enp

sound like a lot of guys who spend their
time unclutching those smooth, caressable
hands from their necks.

The Reluctant Dragon

As we said during the second World
War, things are tough all over.

However, if I am to judge from things
I hear and letters I receize, there is much
in what you say. Life was simpler in the
old days when a girl was supposed to
marry at sixteen, and a girl’s father was
within his rights if he asked a young gen-
tleman—after six months of regular ap-
pearance—to describe his intentions.

Lately I have heard serious viewers of
the social situation point out that eur cus-
toms are undergoing tremendous change.
I am inclined to agree. They say that
Lord Byron’s celebrated observation,
“Man’s love is of man’s life a thing apart,
*tis woman’s whole existence,” is due for
revision. Woman, apparently, will have
to make a life for herself first, as a man
does, and, like man, is going to have to
regard marriage, home and family as nor-
mal eventualities somewhat second in the
scheme of things.

The deep thinkers point out that much
of our difficulty has been brought about
by war, by the killing of large numbers of
young men. If women really want to do
something to restore themselves, they
should band together and stop war.

In the meantime, a wary young man
can do little except “unclutch”’ the clutch-
ing hands and refuse to answer the sixty-
four-dollar question.

Claudette Colbert

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Mama's Girl

(Continued from page 33) to look back
at her dateless teens and wish she hadn’t
missed the beaus and excitement that are
part of any growing girl’s heritage?

“No!” insists Debra. “I don’t have time
for dates and things like that. My whole
life is my work. Mom at this time can
give me a lot more than any boy could.
She gives me confidence and understand-
ing. She coaches me. I’m not the calm,
easy-to-be-with person I appear.’ She
could have passed, with her long pigtails
and her wistful look, for twelve years old.
“Mother lends me stability and, most of
all, feeds my ambition. I am ambitious,
you know.”

Hollywood knows also that Debra’s
mother (whose professional name is Mar-
garet Gibson) always has determined
that her five children should follow in her
show-business footsteps. From the time
the oldest, Teala, could walk, she went
everywhere with Mom—on tours, in stock,
legit, even burlesque, absorbing the back-
stage chatter and coming back home to
tell the other children what she had
discovered about acting. And Mom has
coached the other children, too, in turn.
There are long nights of reading one-act
plays aloud. Not even the marriages of
Teala and brother Frank have interfered
with their careers. For Debra to have show
business in her blood, then, is natural.
What isn’t natural is her extra-strong
attachment to her mother which shuts
everyone else out.

Asked if she was afraid of people or
shy, Debra turned a little defiant. “I’m
neither! It’s just that with most people
I would feel I was wasting my time. It’s
more fun, too, on a free evening, to go
to a movie with Mom. In fact, on Sun-
days we often see three movies—one at
noon, then another, and still another after
dinner. They teach me a lot about this
business we're in.”

“There are so many things a girl has to
do for her career,’ Mrs. Paget explained.
“Personal appearances, working on lo-
cation, going to bed early for those very
early studio calls. All these things take
up much of the time that ordinarily would
be used for dating.”

WE suggested there was time between
pictures. “No!” Debra was emphatic.
“Although I was just graduated from high
school, I still have other lessons. Besides,
I like to be home with the rest of the
family as much as possible. And since we
all chip in with the housework and take
care of our own clothes, there isn’t much
time left.”

Debra also insisted, vehemently, that she
doesn’t miss the fun of sodas with the
crowd at the corner drugstore, picnics with
the bunch during school vacation, parties,
or even the delight of double-dating.

“Who wants to waste the chance that
I have to make something better of my-
self?” she demanded. “There’s always
someone in the family to go with if I want
a soda. And it’s a lot more fun to share
family interests.”

As to that story that Debra doesn’t even
buy her own clothes, she asks, “Why
should I—when Mom’s taste is so perfect?
Sometimes I go along with Mom—when
she’s not sure I'll like her selection. But
I always do. She’s never wrong .. .”

Looking at Debra’s mother, plump,
older, you wonder if Debra someday
may not hear herself called an echo of her
mother’s wishes, her mother’s personality.

To which Debra says, “Mom never has
domineered over any of us. In fact, we
had more freedom than most kids. Partic-
ularly about money. Everything that Dad,
Mom or Teala or any of us has ever earned

_ % "Always give a woman driver half

has gone into a family fund—a communi
chest, you might say. It still does. A
of us can take from it anything that
want. The knowledge that our takin
leaves less for the others has made
more cautious about spending than if w
lived on a budget. But that’s Mom. She
gets the point across without having
hit you on the head with it.

“T do wish people would stop being crit-
ical of Mom, believe she is with me at my
insistence. Because I need her. There’
nothing wrong or old-fashioned abo
depending on someone you love—it is to
bad that enough people aren’t hone
enough to admit this about themselve
And frankly, not enough people have |
mother like mine.’

Debra is forever eager to see tha
people do not get her mother wrong. S
takes pains to tell you that although le
gally it is no longer necessary for hi
to have a chaperone, since she has passed
her eighteenth birthday, she insisted it b
put into her contract that her mothe
can be with her anywhere, any time.

“This business about not liking m

IAA

the road . . . if you can tell which half

she wants."
. . . BRIAN DONLEVY

FUR UOT

mother to go along with me to premieres!”
she protests. “I’d like to hear them tell
Jeanne Crain or any married star tha
she couldn’t be seen with her husband s¢
much! Well, until I marry, my mother wil]
escort me—as I shall expect my husband to
do later on.’

She does then dream about marriage.

“T like the tall, masculine, quiet type
she says. “Of course I shall have to ma ry
someone who will let me continue mj
career, even though I do not mean ft
allow my career to rule my married life
I want to blend the two into each othe
in the wonderful way my mother has. Shi
has been married to Daddy for twenty
eight years—and to look at them is
true inspiration.”

It is hard to look at Debra, to remembe

played in a couple of her pictures, with
out feeling she must have a desire for al
the things natural to young girls. Holly
wood believes she should have handsom
young men singing love songs to her @
dimly lighted dance floors—and wonde
if her confined existence of career, hom
and mother will not one day lead her, a
it did Jeanne Crain, to such a sudde
romance and elopement as_ estrangeé
Jeanne and her family for a long time.
Debra hopes no romance will com
along during the next few years. “Yo
don’t have to seek it to find it,” she nodde
wisely to me. “A girl’s heart can find th
right man if he’s only a stranger passif
by. She needn’t date everyone else ju
to be sure she hasn’t been overlooked
Fate. I meet many people in my wor
but for the time being I belong to mysé
and my family and love it!”
Although it is the general feeling
this is not enough for a girl of eightee
few ever venture to say anything of
kind to Debra—to set her big eyes
smoldering and start her talking in e
clamation points—for all the world like
knight in armor, defending her belovi
Mom. THE

The Girl Behind the Headlines

(Continued from page 44) long time to
make up and dress as Rebecca for “Ivan-
hoe.” But when my schedule permitted it I
went out; danced a little. I like to dance.
One weekend I spent with Lord and Lady
Mountbatten. I thought the young English-
men who came to the party the Mountbat-
tens gave for me quite attractive. But they
did not seem to care for me. . .”

It seems incredible that any young man
should not care for Elizabeth, unquestiona-
bly one of the great beauties of our time.
Besides, she is gentle, with an innate mod-
esty, not remotely a flaunting star. If she
was not received enthusiastically by the
young Englishmen she met at the Mount-
battens’ it must have been because of her
past publicity, her short-lived marriage.

\HE was disturbed by the young English-
\Y men’s attitude. It was this, I think, that
influenced her to go with Nicky to her
Uncle Harold Young’s house in Connecticut
to meet her mother. Nicky and Elizabeth’s
mother have, through the past year, re-
mained good friends. Elizabeth and her
mother and father have been estranged.

Nicky Hilton is, in my book, a horribly
spoiled young man. But about mothers he
is sentimental. I believe it was to talk to
Elizabeth about her mother that he came
to see her in New York.

If Nicky brought Elizabeth and her fam-
ily together so that Elizabeth might be
with Sara and Francis Taylor when, a few
days later, they celebrated their silver
anniversary, he did her a good turn. Eliz-
abeth, always sheltered, proved—before
she sailed for England—that she cannot
cope with the Hollywood razzle-dazzle.

Her mother worried about her. “Stop
fretting,” a friend of mine told Sara Taylor.
“Going to England is the best thing that
could happen to Elizabeth. She’s come
through a stormy year. Her short-lived
marriage in itself must. have been horribly
shocking to her. However, she’s still your
daughter. She still knows all the things
you and her father have taught her. She
still has all the standards you ingrained
in her. In England she’ll go back to her
roots. In England she’ll find herself—
youll see.”

Never were truer words spoken.

1 understand that Mrs. Taylor would
favor a_ reconciliation between Elizabeth
and Nicky. But I doubt there will be one.
And if there is one, take my word, it never
will last. It would be impossible for Eliza-
beth to forget or forgive his treatment of
her on their honeymoon. He was rude to
her beyond words. And he neglected her
shemefully for the gambling houses.

“What in Christendom does that young
Hilton want?” everyone asked. “Most
young men married to such a charming,
beautiful girl would never leave her side.”

It was, I think, Elizabeth’s career that
caused Nicky’s attitude.
want to have a family for a few years at
least. Nicky, I understand, felt differently.
And when a young husband’s authority is
questioned and a young husband’s ego is
affronted he turns resentful. Whereupon, to
salve his wounded pride, he seeks escape.
Where many men would have turned to
another woman, Nicky turned to gambling.
It is, I believe, just that simple.

Were Nicky Hilton an analytical young
man he would run from another beauty
with movie ambitions, Betsy von Fursten-
berg, for instance. But it could be that
Betsy who, with her beautiful countess
mother, has spent her life in an impover-
ished castle in Germany and a walk-up flat
in New York, has known enough insecurity
to settle for the Hilton millions and let
stardom go hang. Elizabeth, with reason,

values her career. Even when she was on.

She did not |

her honeymoon she got made up and cos-
tumed t6 work as an extra in “Quo Vadis,”
then shooting in Rome.

Elizabeth has been working for her ca-

reer ever since she was seven years old |

when her father, deciding that war was
closing in on Europe, sent her and her
mother and brother to her maternal grand-
father’s home in Pasadena. That same year
Elizabeth signed with Universal. But Uni-
versal soon dropped her. After that, she
auditioned for Metro who that first time
said “No, thank you.”

Elizabeth’s career, so really brilliant after
‘A Place in the Sun,” was not as easily or
miraculously come by as many believe.
Furthermore, the critics, who have dis-

missed many of her performances by talk- |

ing of her appeal or beauty or charm, have
devilled her. “I wish,” she more than once
has wailed, “they would say I was good!”

Well, they’re saying she is “good” now.
With reason. Not since “National Velvet”

has Elizabeth turned in such an acting job. !

She made “A Place in the Sun,” remember,
before she married. It was, in fact, while
the company was on location at Lake Ar-
rowhead that Nicky Hilton, coming up to
visit with young Frank Freeman, met Eliz-
abeth for the first time. Elizabeth, I am
sure, sensed the hit she had in this movie
—and wanted to fellow it up with other
hits, rather than with babies.

All of which brings us to the Monty Clift
rumors. Liz and Monty did date while she
was in New York. But facts deny any seri-
ous romance. When a Paramount publicity

man told Monty that Elizabeth was coming |

in he called her, to promise, casually, “I'll
catch up with you while you're here.”
Also, asked to go to Washington on a
Movietime, U.S.A. tour, Monty declined,
although Elizabeth was going. “I’ve ap-
peared for Movietime in New York and
Dallas,” he explained. “I don’t want to
overdo it.”

OREOVER, when Elizabeth checked into
the Hotel Plaza,’ with her twenty-two
pieces of luggage, she found her suite filled
with flowers. From Paramount, for whom
she made “A Place in the Sun” and from
Metro, to whom she is under contract—not
from Monty, or Nicky, or Michael Wilding.
“First thing I want,” she said, kicking off
her shoes, “is a cup of ccffee with real
cream, flapjacks and crisp bacon. Then I
want to go to bed and sleep. For days! No-
body in Paris ever sleeps. You go back to
your hotel only to change your clothes and
go out again. It’s a twenty-four-hour town.”
When someone asked her why she had
not shipped some of her luggage to avoid
the heavy freight she had had to pay—
more than her passage, actually—she
looked horrified. “I couldn’t! I had to have
Sucre right away.” Which is typical of
er.

“T had hoped,” she said, “that ‘A Place in
the Sun’ would premiere while I was in
England. I would have liked to be there.
Maybe Ill fly back—if I’m not in produc-
tion—and they really put on a big do...”

It is, unless I'm very mistaken, Eliza-
beth’s career that occupies her heart to-
day. And this is a good thing. She needs
time to find herself. She is, above all, a nice
girl, the nice fruit of her nice family tree.
Had she been a tough, sophisticated miss
who knew her way around, she would have
handled her life far more expertly. And she
would not be so hurt at what happened to

er.

“Liz Taylor really in love with Michael
Wilding.”

“Liz and Nicky stage romantic idyll.”

“Liz Taylor and Clift wooing here.”

Don’t you believe any of it. I don’t!

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Brief Reviews

V¥% (F) ACROSS THE WIDE MISSOURI—
M-G-M: A fairly interesting Technicolor Western
with Clark Gable as a trapper who marries Indian
maid Maria Elena Marques for selfish reasons and
learns to love her and her people. (Dec.)

VVVY (EF) AMERICAN IN PARIS, AN—M-G-M:
Ex-G.I. Gene Kelly remains in Paris after the war
and falls in love with pal Georges Guetary’s girl,
Leslie Caron, in this gorgeous Technicolor musical.
With Oscar Levant, Nina Foch. (Nov.)

VV (F) ANGELS IN THE OUTFIELD—M-G-M:
A charming fantasy in which tough baseball manager
Paul Douglas inherits a guardian angel. With Janet
Leigh, Keenan W ynn, Spring Byington. (Nov.)
Y (A) BANNERLINE—M-G-M: The usual story
about a cub-reporter whose daring and courage in-
spire the townfolk to wipe out a dangerous racketeer.
With Reet Brasselle, Sally Forrest, Lionel Barry-
more. (D )

YV% (F) BEHAVE YOURSELF—RKO: Shelley
Winters and Farley Granger co-star in this ridicu-
lously tunny mix-up about a missing dog, gangs of

hoodlums, murders galore and a nagging mother-in-
law. (Dec.)
VVV (F) BLUE VEIL, THE—RKO: A tender

episodic story with Jane Wyman as a young widow
who devotes her life to caring for other women’s

children. With Charles. Laughton, Don Taylor, Joan
Blondell, Richard Carlson, Audrey Totter. (Dec.)
V% (F) CATTLE DRIVE—U-L: Dean Stockwell,

stranded after leaving his father’s private railroad
car, meets up with cowhand Joel McCrea and after
a trek across the desert becomes a new boy. (Oct.)
(F) CAVE OF OUT LAWS—U-I: A dull Western
in which ex-convict Macdonald Carey heads for the
Carlsbad Caverns to find gold hidden there years
before, and finds more glitter in Alexis Smith. (Dec.)
VV (F) CLOSE TO MY HEART—Watners:
Heart-tugging drama in which Gene Tierney and
Ray Milland face the complications of adopting a
foundling of unknown parentage. (Dec.)

VYW% (A) COME FILL THE CUP—Warners: After
losing both Phyllis Thaxter and his newspaper job
by imbibing too much, James* Cagney reforms and
sets out to put other alcoholics back on their feet.
A heavy and overlong drama. With Gig Young,
Raymond Massey. (Dec.)

(F) CROSSWINDS—Paramount: An _ adventure
filn with plenty of killings, double dealings, triple
schemings that has John Payne, Rhonda “Fleming,
Forrest Tucker running around in vicious circles.
(Dec.)

VY (F) DARLING, HOW COULD YOU !--Para-
mount: A cozy family type comedy in which Joan
Fontaine and John Lund return after five years and

are faced with some merry problems as they try to
become reacquainted with children Mona Freeman
and David Stollery. With Peter Hanson. (Nov.)

DAVID AND BATHSHEBA—20th
Century-Fox: Spectacular Technicolor production of
the Biblical love story. With Gregory Peck and
Susan Hayward as the lovers and Raymond Massey,
Kieron Moore, Jayne Meadows. (Oct.)

VV (F) DAY THE EARTH STOOD STILL,
7 HE—20th Century-Fox: ‘In this out-of-this-world
drama a messenger from Mars lands in Washington
and starts a series of exciting events. Michael Ren-
nie is the Martian. With Pat Neal. (Nov.)

VV (A) DECISION _BEFORE DAWN—20th
Century-Fox: An unusual story about German pris-
oners of war who turned against Hitler to spy for
the Allies. With Richard Basehart, Gary Merrill,

VV (A)

Hans Christian Blech. (Dec.)
VY (A) DESERT FOX, THE—20th Century-
Fox: James Mason portrays Rommel in this _inter-

esting biography with events covering the Field Mar-
shal’s defeat in Africa, up to his liquidation by the
Nazis. With Jessica Tandy, Bill Regnolds. (Nov.)
VV (A) DETECTIVE STORY—Paramount: A
terrihe melodrama set in a midtown police station
with Kirk Douglas as a relentless detective whose
lack of leniency and understanding have a disastrous
effect on his marriage to Eleanor Parker. With Lee
Grant, William Bendix, Craig Hill, Cathy O’ Donnell.

(Dec.)

YU (F) FLYING LEATHERNECKS, THE—
RKO: An overlong and somewhat repetitious story
of the Marine Air Corps during the siege of Guadal-
canal. With John Wayne, Robert Ryan, Don Tay-
lor, Janis Carter. (Nov.)

WY | (A) FORCE OF ARMS—Warners: Realistic
and tender love story in which William Holden and
Nancy Olson meet and marry in war-torn Italy.
With Frank Lovejoy. (Nov.) _

W% (F) GOLDEN HORDE, THE—Universal: An-
other Arabian Nights type of fantasy with Ann
Blyth as a princess who tries to rid her city of
Genghis Khan's blood-thirsty conquerors. David
Farrar is around to help her. (Nov.)

VYY% (F) HERE COMES THE GROOM—Para-
mount: Bing Crosby returns from abroad to find
his girl, Jane Wyman, about to wed Franchot Tone.
The methods he uses to prevent the marriage make
this a zingy comedy. With Alexis Smith. (Oct.)
Vv. (A) AIS KIND OF WOMAN—RKO: Fast-
moving drama with some comedy relief in which Bob
Mitchum takes a mysterious assignment in Mexico
and becomes involved with Jane Russell and mur-
der, With Tim Holt, Vincent Price. (Nov.)

V% (A) HOTEL SAHARA—Rank-U.A.: A_ sa:
firical British comedy about the efforts of Peter Usti-
nov to keep fiancee Yvonne DeCarlo from the hands
of the Italians, French and Germans. .( Nov.)

VV (F) ‘IT’S ONLY MONEY—RKO: There’s
loads of laughs when bank teller Frank Sinatra is
given a fortune and is unable to explain. Jane Rus-
sell and Groucho Marx are in on the fun. (Nov.)
V (F) LADY FROM TEXAS, THE—U-1; Howard
Duff prevents Josephine Hull from being declared

insane by unscrupulous characters in this corny
dull comedy. With Mona Freeman. (Nov.
Y (A) LADY PAYS OFF, THE—U-I: Linda
Darnell, who resents being loved for “the mother in
her’’ meets gambler Stephen McNally whose feelings
aren’t maternal, in this corny comedy. With Gigi
Perreau. (Dec.)
Aaa (A) LAVENDER HILL MOB, THE—Rank-
There’ s sheer delight in this unusual and hilari-
aaa “British comedy about a meek bank employee,
Alec Guinness, who steals the bank’s gold and tries
ve get it out of the country in a most unusual way.
(Dec.)
VY (A) LAW AND THE LADY, THE—M-G-M:
Greer Garson and Michael Wilding. form a partner-
ship to fleece millionaires in this sprightly comedy.
With Fernando Lamas, Marjorie Main. (Oct.)
V% (A) LITTLE EGYPT—U-1: Too much con-
venabed in this fanciful take-off on the story of the
turn-of-the-century hooch dancer. With Rhonda Flem-
ing, Mark Stevens, Nancy Guild. (Oct.)
V¥% (A) MAGIC FACE, THE—Columbia: Even
if you won't go along with the theory that Hitler
was killed midway in the war and an actor hired
to impersonate him, you’ll be interested in this un-

usual melodrama. With Luther Adler, Patricia
Knight. (Oct.)
VY (F) MEET ME AFTER THE SHOW —20th

Century-Fox: A typical Grable musical with Betty
suffering from amnesia and being wooed again by
estranged husband Macdonald Carey. (Nov.)

VY (A) MILLIONAIRE FOR CHRISTY, A—
20th Century-Fox: A gay comedy in which Eleanor
Parker decides to marry Fred MacMurray sight un-
seen and proceeds in a mad and merry way to do
it. With Richard Carlson. (Nov.)

Vv (F) MR. BELVEDERE RINGS THE BELL
—20th Century-Fox: Clifton Webb pretends he’s
seventy and enters, along with pandemonium and
havoc, an cld age home. With Joanne Dru, Hugh
Marlowe. (Oct.) .
Vv (F) MISTER DRAKE’S DUGCK—U-I; A
whimsical comedy of events that occur when Douglas
Fairbanks and Yolande Dolan, honeymooning on his
farm, find their duck lays uranium eggs. (Oct. )
V% (A) MR. IMPERIUM—M-G-M: Beautiful but
numb Technicolor production with Lana Turner, Ezio
Pinza, Debbie Reynolds, Marjorie Main. “(Oct.)
YW (A) MOB, THE—Columbia: Policeman Brod
Crawford secures a job as a dock worker in order
to bring himself in Cone: with the “mob.” Rugged
action drama. (Oct.

VWwY% (A) NO HIG HWAY IN THE SKY—20th
Century-Fox: An unusual and exciting comedy co-
starring Jithmy Stewart, Marlene Dietrich, Glynis

Johns. (Oct.)

Viv 2 (F) ON MOONLIGHT BAY—Warners:

When Doris Day and Gordon Mac Rae fall in love,
of trouble coping with papa Leon

they have plenty
Ames and kid brother ely Gray, in this nostalgic
Neg,

Technicolor musical. (Oct

Y% (F) ON THE L005E—RKO- Filmakers:

lected by her parents, Joan Evans makes some mis-
suicide. With Melvyn

(Nov.)

takes that almost lead to her

Douglas, Lynn Bari, Bob Arthur.

Vis (B) PAL NTING THE CLOUDS WITH SUN-
SHIN E—W, Bese An outdated musical with Vir-
ginia Mayo, Lucille Norman, Virginia Gibson as
three ambitious young entertainers who go to Las
Vegas to snag a millionaire. Dennis Morgan, Gene
Nelson and Tom Conway are the men. (Nov.)

(F) PARDON MY FRENCH—U.A.: American
school teacher, Merle Oberon, inherits a French
chateau and becomes involved with musician Paul
Henreid and his five children. (Oct.)

VY (A) PEOPLE AGAINST OHARA, THE—
M-G-M: Spencer Tracy, as an alcoholic lawyer,
tries to save Jim Arness from the electric chair in

this drama, With Diana Lynn, Bill Campbell. (Nov.)
VV (A) PEOPLE WILL TALK—20th_ Century-
Fox: A strange comedy in which Cary Grant and

Jeanne Crain fall in love and marry under some

unusual circumstances. With Hume Cronyn. (Nov.)
Y% (A) RAGING TIDE, THE—U-I: Murderer
ichard Conte takes refuge on fishing boat owned by
Charles Bickford and Alex Nicol and proceeds to
complicate everyone’s life in this rather trite story.
Shelley Winters plays Dick’s girl; Stephen McNally,

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leaf; Judge, Onslow Stevens;

Baldwin; Higgins, Howland Chamberlain;

the detective on his trail. (Dec.)

VAL (fF) RED BADGE OF COURAGE, THE—
G-M: Audie Murphy is a frightened young farm

boy who, thrown into battle, overcomes cowardice in

this moying Civil War story. (Nov.)

V% (F) REUNION IN RENO—U-1: A sentimen-

tal comedy-drama in which Gigi Perreau asks attor-

Mark Stevens to secure her a divorce from

ney
parents euances Dee, Leif Erickson. With Peggy
Dow. (D

VAVAV A (B) RHUBARB — Paramount: Hilarious

tarce about a spirited cat who inherits a_ baseball
team and $30,000,000. With Ray Milland, Jan Ster-
ling, Gene Lockhart. (Oct.)

VV (F) RICH, YOUNG ND PRETTY—M-G-M:
When millionaire Wendell Corey takes daughter
Jane Powell to Paris, he doesn’t count on her meet-
ing her mother, Danielle Darrieux, new beau Vic
Damone. With Fernando Lamas, Una Merkel. (Oct.)
Vv (A) SATURDAYS HERO—Columbia: A dis-
illusioning exposé-of the college football scene with
John Derek, Donna Reed, Sidney Blackmer.. (Oct.)
VY (A) SECRET OF CONVICT LAKE, THE—
20th Century-Fox: Glenn Ford leads Richard Hyl-
ton, Zachary Scott and two other fellow convicts to
a mountain settlement where they are reluctantly
given, refuge by Gene Tierney, Ethel Barrymore,
Barbara Bates and Ann Dvorak. Exciting! (Oct.)
(F) SON OF DR. JEKYLL, THE—Columbia: A
lot of nonsense about events that occur when Louis
Hayward tries to prove Papa was a great humani-
tarian instead of a murderous fiend. With Jody
Lawrance. (Dec.)

V% (A) STRIP, THE—M-G-M: Mickey Rooney
becomes involved with racketeer James Craig, night-
club dancer Sally Forrest and a killing in this mild
melodrama with a Sunset Boulevard setting. (Nov.)
YV (BF) SUBMARINE COMMAND—Paramount:

Thrilling story of submarine warfare and of the men

* Courtland, Terry Moore,

who live and die encased in steel beneath the sea.
With Bill Holden, Don Taylor, Nancy Olson. (Dec.)

V% (F) SUNNY SIDE OF THE STREET—
Columbia: Frankie Laine and Billy Daniels again

co-star in a pleasant little musical. With Jerome
Audrey Long. (Nov.)

VY (F) TALL TARGET, THE—M-G-M: Detec-
tive Dick Powell prevents an assassination attempt
on President Lincoln in fairly interesting story sup-
posedly based on a chapter in American history. With
Marshall Thompson, Paula Raymond. (Nov.)

VV (F) TEXAS CARNIV. AL—M-G-M: A rip-
roaring musical with Red Skelton and Esther Wil-
liams as carnival performers who are taken for Texas
tycoons by Howard Keel and Ann Miller. With
Keenan Wynn. (Dec.)

VV (A) THUNDER ON THE HILL—U-1: A
tense aici Garona in which nun Claudette Colbert
tries to prove Ann Blyth innocent of the murder
charges against her. With Philip Friend. (Oct.)
V¥% (A) TOMORROW IS ANOTHER DAY—
Warners: Ex-convict Steve Cochran meets dime-a-
dance girl Ruth Roman, becomes involved in a death
which forces the couple to turn fugitive. (Nov.)
VV% (F) WHEN WORLDS COLLIDE—Para-
mount: A fascinating science fiction epic in which
forty-three people are chosen to escape in a rocket
before the earth is destroyed by another planet.
Wate Richard Derr, Peter Hanson, Barbara Rush.
(Dec. )

Vv % (F) WELL, THE—U.A.: A gripping movie
about the riots that ensue As, a little Negro girl
falls into a well and a white man is accused of her

kidnapping. With Henry Morgan. (Oct.)
Y¥% (F) YOU NEVER CAN TELL—U-1: Con-
fusing but fanciful little comedy in which Dick

Powell plays a German Shepherd dog who comes back
to earth to expose Charles Drake who is after Peggy
Dow’s money. With Joyce Holden. (Nov.)

Casts of Current Pictures

BIG NIGHT, THE—U. A.: George La Main, John
Barrymore Jr.; Andy La Main, Preston Foster;
Flanagan, Howland Chamberlin; Al Judge, Howard
St. John; Dr. Lloyd Cooper, Philip Bourneuf; Peck-
inpaugh, Emil Meyer; Julie Rostina, Dorothy Com-
ingore; Marion Rostina, Joan Lorring; Singer, Mauri
Lynn.

FAMILY SECRET, THE—Columbia: David Clark,
John Derek; Howard Clark, Lee J. Cobb; Lee Pear-
Erin O’Brien-

son, Jody Lawrance; Ellen Clark,
Moore; George Redman, Santos Ortega; Donald
Muir, Henry O'Neill; Dr. Reynolds, Carl Benton

Reid; Sybil Bradley, "Peggy Converse; Vera Stone,
Jean Alexander; Marie Elsnor, Dorothy Tree; Joe
Elsnor, Whit Bissell; Mr. Sims, Raymond Green-
Cora French, Elizabeth
Flournoy; Larry, Bill Walker; Bertha, Frances E.
Williams; Miss Martin, Mary Alan Hokanson.

I WANT YOU—Samuel Goldwyn Productions:
Martin Greer, Dana Andrews; Nancy Greer, Doro-
thy McGuire; Jack Greer, Farley Granger; Carrie
Turner, Peggy Dow; Thomas Greer, Robert Keith;
Sarah Greer, Mildred Dunnock; Judge Turner, Ray
Collins; George Kress Jr., Martin Milner; Harvey
Landrum, Jim Backus; Mrs. Turner, Marjorie
Crossland; George Kress Sr., Walter Baldwin; Ned
Iversen, Walter Sande; Gladys, Peggy Maley; Anne

Greer, Jerrilyn Flannery; Tony Greer, Erik Neilsen.
LADY SAYS NO!, THE—U.A.: Dorinda, Joan
Caulfield; Bill, David Niven; Uncle Matt, James

Robertson Justice; Goldie, Lenore Lonergan; Aunt
Alice, Frances Bavier; Midge, Peggy Maley; Potsy,
Henry Jones; Goose, Jeff York; Bartender, George
Davis; General, Robert Williams; Mary, Mary Law-
rence.

LET’S MAKE IT LEGAL—20th Century-Fox:
Miriam, Claudette Colbert; Hugh, Macdonald Carey;
Victor, Zachary Scott; Barbara Denham, Barbara
Bates; Jerry Denham, Robert Wagner; Joyce, Mari-
lyn Monroe; Ferguson, Frank Cady; Gardener, Jim
Hayward; Miss Jessup, Carol Savage; Milkman,
Paul Gerrits; Secretary, Betty Jane Bowen; Hugh’s
Secretary, Vici Raaf; Police Lieutenant, Ralph San-
ford; Hotel Manager, Harry Denny; Matlman, Harry
Harvey, Sr.

LIGHT TOUCH, THE—M-G-M: Sam Conride,

Stewart Granger; Anna Vasarri, Pier Angeli; Felix
Guignol, George Sanders; Mr. Avamescu, Kurt
Kasznar; Lt. Massiro, Joseph Calleia; Mr. R. F.
Hawkley, WLarry Keating; Mr. MacWade, Rhys
Williams; Anton, Norman Lloyd; Charles, Mike
Mazurki.

MEET DANNY WILSON— Ul : Danny Wilson,

Frank Sinatra; Joy Carroll, Shelley Winters; Mike
Ryan, Alex Nicol; Nick Driscoll, Raymond Burr;
Tommy Wells, Tommy Farrell; 7. W. Hatcher,
Vaughn Taylor.

MY FAVORITE SPY—Paramount: Erie Augus-
tine, Peanuts White, Bob Hope; Lily Dalbray, Hedy
Lamarr; Karl Brubaker, Francis L. Sullivan; Tasso,
Arnold Moss; Harry Crock, Tonio Selwart; Donald
Bailey, Stephen Chase; Henderson, John Archer;
General Fraser, Morris Ankrum; Ben Ali, Marc
Lawrence; Lola, Iris Adrian; Monkara, Mike Ma-
zurki; Hoenig, Luis Van Rooten; E/ Sarif, Ralph
Smiley.

RACKET, THE—RKO: Captain McQuigg, Robert
Mitchum; Jvene, Lizabeth Scott; Nick, Robert Ryan;
Johnson, William Talman; Welch, Ray Collins; Mary
McQuigg, Joyce MacKenzie; Ames, Robert Hutton;
Lucy Johnson, Virginia Huston; Turck, William
Conrad; Delancy, Walter Sande; Chief Craig, Les
Tremayne; Connolly, Don Porter; Sullivan, Walter
Joe Scan-

lon, Brett King; Enright, Richard Karlan; Tony,
Tito Vuolo.
SILVER Cl!TY—Paramount: Larkin Moffatt, Ed-

mond O’Brien; Candace Surrency, Yvonne De Carlo;

R. R. Jarboe, Barry Fitzgerald; Charles Storrs,
Richard Arlen; Mrs. Barber, Gladys George;
Josephine, Laura Elliot; Dutch Swurrency, Edgar
Buchanan; Taff, Michael Moore.

SLAUGHTER TRAIL—RKO: Capt. Dempster,

Brian Donlevy; Vaughn, Gig Young; Lorabelle Lar-
kin, Virginia Grey; Sgt. McIntosh, Andy Devine;
Lt. Morgan, Robert Hutton; Singalong, Terry Gilky-
son; Hardsaddle, Lew Bedell; Heath, Myron Healey;
Levering, Ken Koutnik; Rufus Black, Eddie Parks:

Stage Driver, Ralph Peters; Chief Paako, Rick
Roman; Susan, Lois Hall; Nancy, Robin Fletcher;
Sentry, Ralph Volkie; Caller, Fenton Jones.

STARLIFT—Warners: Nel Wayne, Janice Rule;
Sgt. Mike Nolan, Dick Wesson; Corp. Rick Wil-
liams, Ron Hagerthy; Col. Joe Callan, Richard
Webb; The Chaplain, Hayden Rorke; Steve Rodgers,

Howard St. John; Doris Day, Gordon MacRae, Vir-
ginia Mayo, Gene Nelson, and Ruth Roman as them-
selves; also guest stars James Cagney, Gary Cooper,
Virginia Gibson, Phil Harris, Frank Lovejoy, Lu-
cille Norman, Louella Parsons, Randolph Scott, Jane
Wyman, Patrice Wymore.

STRANGE DOOR, THE—U-1: Alan De Maletroit,

Charles Laughton; Voltan, Boris Karloff; Blanche
De Maletroit, Sally Forrest; Denis De Beaulieu,
Richard Stapley; Talon, Michael Pate; Count Gras-

sin, Alan Napier; Corbeau, William Cottrell; Rin-
ville, Morgan Farley; Moret, Edwin Parker; Turec,
Charles Horvath; Edmond De Maletroit, Paul
Cavanagh.

TANKS ARE COMING, THE—Warners:
Steve Cochran; Lt. Rawson, Philip Carey; Patricia
Kane, Mari Aldon; Danny, Paul Picerni; "Lemchek,
Harry Bellaver; Jke, James Dobson; Tucker, George
O’Hanlon; Col. Matthews, John McGuire; Heinie,
Robert Boon; Sgt. Joe Davis, Michael Steele.

TEN TALL MEN—Columbia: Mike, Burt Lan-
caster; Mahla, Jody Lawrance; Luis, Gilbert Roland;
Pierre, Kieron Moore; Kruger, Stephen Bekassy;
Marie, Mari Blanchard; Mouse, Nick Dennis;
Roshko, Mike Mazurki; Jardine, John Dehner; Lus-
tig, Ian Mac Donald; Mossul, Robert Clary; Henvi,
Phil Van Zandt; Eijah, Paul Marion; Levon, George
Tobias; Kurt, Henry Rowland; Prince Hussin, Ger-
ald Mohr; Browning, Michael Pate; Ben Allal,
Raymond Greenleaf.

TOO YOUNG TO KISS—M-G-M: Cynthia Potter,

Sully,

. June Allyson; Evic Wainwright, Van Johnson; John

Tirsen, Gig Young; Denise Dorcet, Paula Corday;
Miss Benson, Kathryn Givney; Danny Cutler, Larry
Keating; Mr. Sparrow, Hans Conried; Mrs. Boykin,
Esther Dale; Veloti, Antonio Filauri; Gloria, Jo
Gilbert; Conductor, Alexander Steinert.

TWO TICKETS TO BROADWAY—RKO; Dan,
Tony Martin; Nancy, Janet Leigh; Harriet, Gloria
DeHaven; Lew Conway, Eddie Bracken; Joyce
Campbell, Ann Miller; Bob, Bob Crosby;
Rogers, Barbara Lawrence; Harry, Joe Smith; Leo,
Charles Dale; Wallard Glendon, Taylor Holmes:
Sailor, Buddy Baer; and The Charlivels.
WESTWARD THE WOMEN—M-G:M:_ Buck
Wyatt, Robert Taylor; Fifi Danon, Denise Darcel;
Patience Hawley, Hope Emerson; Roy Whitman,

John McIntire; Laurie Smith, Julie Bishop; -Rose
Meyers, Beverly Dennis; Jean Johnson, Marilyn
Erskine; Margaret O’ Malley, Lenore Lonergan;
Mrs. Moroni, Renata Vanni; /to, Henry Nakamura;
Antonio Moroni, Guido Martufi; ‘Cat,’ Bruce
Cowling.

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88

Tony Curtis, of “Son of Ali
Baba,” isn’t the kind of guy who
brushes off his kid brother. Although

Robert is only ten years old, the boys
share many interests—really are pals.
One day, Tony invited Bobby and his
gang to a picnic. Five happy kids piled
into Tony's convertible for a day at
Griffith Park. Before long. however,
Tony discovered he had a demon .

. named Arthur, aboard; Arthur stung Tony with
his peashooter and pelted him with spitballs. By
the time they reached the park, Tony was ready . . .

... to commit murder! But he held on to his temper—even when ... Arthur planted a bone-cracking blow on his knees with the
he caught Arthur dropping grasshoppers into the lemonade. Grit- bat, Tony decided he’d had enough. He piled the kids into the
ting his teeth, Tony suggested a game of baseball. But when . . car and drove home. It was just as bad going back! Tony . .

MACQMINIGAL F/
t

y

D>

. at the end of his patience, was just about to pull the car
over to the curb when a siren wailed. “What now!” he groaned

—and stopped. Up marched a traffic cop—and the arm of the..

... law yanked Arthur out of his seat—and turned him over his
knee! “Ive had my eye on him for blocks,” he told the aston- %
ished Tony. “Don’t worry—I’m just doing my duty. He’s my kid!”

°

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